I should not have been surprised. After all, movies tackle dramatic subjects, and few are more dramatic than mortality. I pride myself on being able to block out the world's distractions when I go to review a film. (I consider that a crucial part of my job.) But I felt the occasional jolt of recognition when death came creeping into a film's plot: "Oh, right, that. There it is again." Repeatedly, I was reminded that I existed in a new world, one without that person I just lost.
At the same time, it was extraordinarily surreal to be here at Cannes while processing my friend's passing. The place is just so damn beautiful, and the movies are so rich and rewarding. All festivals are a bubble from the real world -- that's one reason why people love attending them -- but a big part of me was able to shut out my sorrow simply because of my stimulating environment. Death may have followed me from screen to screen, but Cannes is so alive that you can trick yourself into forgetting. Still, I'm smart enough to recognize that my sorrow will be waiting for me when I return to Los Angeles. Bubbles have a nasty habit of bursting.
* * * * *
With that acknowledged, let me now add that I found this to be a deeply great edition of the festival. Some of the movies I was most anticipating let me down -- the Spike Lee, the Wes Anderson, most certainly the Ari Aster -- but there was ample compensation from the expected heavy-hitters who did deliver the goods. And, of course, there were the revelatory discoveries, like Oliver Laxe's Sirat and Mascha Schilinski's Sound of Falling, easily the best movie I saw in Cannes. God bless Mubi, who took a chance on her ambitious, kaleidoscopic drama that spans roughly 100 years and four generations of different families living in the same home. The esteemed distributor is actually behind my Top Two from the festival, which also includes Kelly Reichardt's The Mastermind, one of the finest films this very fine filmmaker has ever produced. From the dazzling execution of Bi Gan's Resurrection to the formal rigor of Sergei Loznitsa's merciless Two Prosecutors, the major auteurs came out swinging. And that's not even mentioning two movies beloved by many here and merely really, really liked by me: Jafar Panahi's It Was Just an Accident and Kleber Mendonca Filho's The Secret Agent.
Before I reveal my rankings, let's now take a moment to mention the films I wasn't able to get to, like Adam's Interest, The Love That Remains, Mirrors No. 3, My Father's Shadow, Urchin, A Useful Ghost and Yes!, to name just a few. (Some may notice that I didn't review Mission: Impossible – The Final Reckoning. I was set to do so, but my L.A. screening got canceled midway through because of a fire. It's a long story, but everyone's fine, so don't worry.)
From worst to best, here's a list of everything I saw, with links leading to individual reviews:
37. Eddington
36. Eleanor the Great
35. The Wave
34. Fuori
33. The Richest Woman in the World
32. Leave One Day
31. Splitsville
30. The Chronology of Water
29. Alpha
28. The Phoenician Scheme
27. Romeria
26. Highest 2 Lowest
25. Honey Don't!
24. The Little Sister
23. The History of Sound
22. The Six Billion Dollar Man
21. The Plague
20. Woman and Child
19. Case 137
18. Pillion
17. Eagles of the Republic
16. Arco
15. Young Mothers
14. Enzo
13. Nouvelle Vague
12. The Secret Agent
11. It Was Just an Accident
10. Renoir
9. Die, My Love
8. Orwell: 2+2=5
7. Sentimental Value
6. Resurrection
5. Sirat
4. Sorry, Baby
3. Two Prosecutors
2. The Mastermind
1. Sound of Falling
For the first time since I started going to Cannes in 2013, I saw every film in Competition, all 22 of them. What that means is that when the jury, headed by Juliette Binoche, announces its awards, I won't have the usual FOMO feeling of "Oh shoot, I didn't see the Best Screenplay winner" or whatever.
However, that doesn't mean I'm any more confident about what will take home the Palme d'Or than I was in previous years. Remember: I have never correctly guessed the winner, and I'm just as uncertain this year. Part of the problem is that the jury is made up of new people every year, and unless you're hanging out with them, you're just speculating on where their head is at. That said, here's my thinking. I could see It Was Just an Accident, Resurrection, The Secret Agent, Sentimental Value or Sound of Falling winning. Forced to narrow down the field further, I'll go with the movies that are perceived as the front-runners: It Was Just an Accident, The Secret Agent and Sentimental Value. (Why are they "perceived" to be the front-runners? Oh, because the people who like to make predictions about this stuff have said they are.)
My gut tells me it's either going to be It Was Just an Accident or Sentimental Value. In one corner, you have Jafar Panahi, one of cinema's giants, who has recently been freed from prison, enjoying a hero's welcome here at the festival when his film premiered. In the other, you have Joachim Trier, whose last Cannes film, The Worst Person in the World, took home Best Actress for Renate Reinsve. Sentimental Value seems to be the most beloved film, but while it's dangerous to make predictions based on the temperament of the jury president, I just feel like Binoche would be more inclined to go with a more challenging, politically incisive film for the Palme. So I'm picking It Was Just an Accident. If Sound of Falling or The Mastermind win, I would be ecstatic.
Regardless how the awards shape up, readers should be excited about a bunch of great movies coming their way soon. Now, off to sleep for me, and an exit from the bubble into whatever awaits me on the other side.
Last year's edition was deemed an instant classic simply because of Past Lives -- not to mention movies like Passages and All Dirt Roads Taste of Salt -- that it was inevitable that this year's installment must suffer by comparison. But I have to say: I saw several gems, including at least one that's going to merit serious consideration for my end-of-the-year list. And, even better, it wasn't one I was expecting greatness from when this Sundance started. But Jesse Eisenberg's beautiful, hilarious A Real Pain floored me. That's the part of a festival you never can plan for -- the movie that comes out of nowhere and knocks your socks off. (And, also, a special shout-out to In the Summers, pictured above, which won the U.S. Dramatic prize, as well as the directing award.)
Below are my rankings, with links leading to individual reviews.
27. Your Monster
26. Rob Peace
25. Love Lies Bleeding
24. Love Me
23. The Outrun
22. Will & Harper
21. A New Kind of Wilderness
20. Exhibiting Forgiveness
19. Gaucho Gaucho
18. Thelma
17. Power
16. DEVO
15. Union
14. War Game
13. My Old Ass
12. Black Box Diaries
11. Presence
10. I Saw the TV Glow
9. Hit Man
8. Girls State
7. Girls Will Be Girls
6. How to Have Sex
5. Good One
4. Sasquatch Sunset
3. A Different Man
2. In the Summers
1. A Real Pain
I'd say all three were contributing factors. I've been attending TIFF for about 15 years now, give or take a pandemic, and this was the first time that it didn't feel like one-stop shopping for the fall film festivals. All of Us Strangers, The Bikeriders, The Killer, Maestro, The Mission, Poor Things and Priscilla all either played Venice or Telluride (or both) but skipped Toronto. I was lucky enough to see the Telluride premiere Janet Planet ahead of time, and the Venice premiere Gasoline Rainbow, but much of my week in Toronto was spent hearing people lament what wasn't there -- especially after Yorgos Lanthimos' film won the Golden Lion at Venice.
Still, you're not going to hear me complain. Going to a festival is a privilege, and I'll eventually get to all of the above-mentioned films, as well as others I couldn't fit into my schedule. Plus, it's not as if there weren't great movies to choose from. The below list reflects my rankings of every film that screened at Venice, Telluride or Toronto that I saw, either during the fall or previously. (As usual, choice Sundance, Berlin and Cannes titles show up as well.) Looking down the list, I'd say roughly 80 percent of these films I would categorize as at least "good" or "good enough." And more than half gave me considerable pleasure. As for the Top 10, well, those are absolute keepers, and so are several after that. However you slice it, plenty of excellent films are on our way soon.
A couple caveats about these rankings. I decided to leave off Reality, which played in Telluride, since that's already opened. I also opted not to rank Stop Making Sense, which I already adore beyond all measure, and whose IMAX restoration screening at TIFF only underlined its brilliance. It occurred to me afterward that I caught the Talking Heads concert film in the same IMAX venue that I saw Justin Timberlake + the Tennessee Kids back in 2016. As if I needed more reason to miss Jonathan Demme.
Links lead to individual reviews:
50. Riddle of Fire
49. The Teacher
48. Reptile
47. Pain Hustlers
46. Quiz Lady
45. Pet Shop Days
44. Mother, Couch
43. The Critic
42. Dear Jassi
41. Dicks: The Musical
40. Perfect Days
39. Les Indésirables
38. El Conde
37. Rustin
36. Seven Veils
35. An Endless Sunday
34. Last Summer
33. Cassandro
32. Dumb Money
31. Fingernails
30. Sleep
29. Fair Play
28. In Restless Dreams: The Music of Paul Simon
27. American Fiction
26. La Chimera
25. Monster
24. Fallen Leaves
23. Shayda
22. Hit Man
21. The Pigeon Tunnel
20. The Teachers' Lounge
19. Gasoline Rainbow
18. How to Have Sex
17. The Royal Hotel
16. Robot Dreams
15. Together 99
14. The Holdovers
13. Menus-Plaisirs Les Troisgros
12. Anatomy of a Fall
11. The Delinquents
10. The Taste of Things
9. The Boy and the Heron
8. The Beast
7. Evil Does Not Exist
6. Do Not Expect Too Much From the End of the World
5. Here
4. Inside the Yellow Cocoon Shell
3. His Three Daughters
2. Janet Planet
1. The Zone of Interest
