cannes – eZNews https://movies.eznews.xyz Tech News, Gaming, Travel Thu, 29 May 2025 23:00:00 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 https://movies.eznews.xyz/wp-content/uploads/2024/07/cropped-eznews-icon-1-32x32.jpeg cannes – eZNews https://movies.eznews.xyz 32 32 Cannes Film Festival Debrief 2025 https://movies.eznews.xyz/world-news/cannes-film-festival-debrief-2025/ https://movies.eznews.xyz/world-news/cannes-film-festival-debrief-2025/#respond Thu, 29 May 2025 23:00:00 +0000 https://movies.eznews.xyz/world-news/cannes-film-festival-debrief-2025/

Join­ing host Leila Latif are Han­nah Strong and David Jenkins.

Truth & Movies is the pod­cast from the film experts at Lit­tle White Lies, where along with select­ed col­leagues and friends, they dis­cuss the lat­est movie releas­es. Truth & Movies has all your film needs cov­ered, review­ing the lat­est releas­es big and small, talk­ing to some of the most excit­ing film­mak­ers, keep­ing you across impor­tant indus­try news, and reassess­ing great films from days gone by with the Truth & Movies Film Club.

Email: truthandmovies@​tcolondon.​com

BlueSky and Insta­gram: @LWLies

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]]> https://movies.eznews.xyz/world-news/cannes-film-festival-debrief-2025/feed/ 0 The Phoenician Scheme | Cannes Film Festival + Benicio Del Toro and… https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/ https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/#respond Thu, 22 May 2025 23:00:00 +0000 https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/

Join­ing host Leila Latif are David Jenk­ins, Sophie Monks Kauf­man and Ele­na Lazic.

Truth & Movies is the pod­cast from the film experts at Lit­tle White Lies, where along with select­ed col­leagues and friends, they dis­cuss the lat­est movie releas­es. Truth & Movies has all your film needs cov­ered, review­ing the lat­est releas­es big and small, talk­ing to some of the most excit­ing film­mak­ers, keep­ing you across impor­tant indus­try news, and reassess­ing great films from days gone by with the Truth & Movies Film Club.

Email: truthandmovies@​tcolondon.​com

BlueSky and Insta­gram: @LWLies

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]]> https://movies.eznews.xyz/world-news/the-phoenician-scheme-cannes-film-festival-benicio-del-toro-and/feed/ 0 Alpha – first-look review https://movies.eznews.xyz/world-news/alpha-first-look-review-2/ https://movies.eznews.xyz/world-news/alpha-first-look-review-2/#respond Mon, 19 May 2025 22:08:55 +0000 https://movies.eznews.xyz/world-news/alpha-first-look-review-2/

“I’m not afraid to die.” The refrain of Nick Cave and the Bad Seeds’ ​‘The Mer­cy Seat’ seems hard­cod­ed into the DNA of Julia Ducournau’s third fea­ture, which sees the Palme d’Or win­ner move away from the shock and awe body hor­ror of Raw and Titane into some­thing some­how sad­der and stranger. That’s how 13-year-old Alpha (Mélis­sa Boros) fan­cies her­self, reck­less and angsty in her ado­les­cent way, kick­ing against her mother’s (Gold­shifteh Fara­ha­mi) par­ent­ing with drink­ing and smok­ing and hav­ing an affair with her class­mate Adrien even though he already has a girl­friend. But if Alpha is the scream­ing gui­tars and defi­ant snarl of Cave’s first iter­a­tion of this song, her Uncle Amin (Tahar Rahim) is the soul-wrench­ing res­ig­na­tion of the ver­sion record­ed a quar­ter of a cen­tu­ry lat­er. He turns up mid hero­in detox, sprawled on Alpha’s bed­room floor, rail thin, shiv­er­ing and sweat­ing through his clothes with track­marks on his arms. Alpha doesn’t recog­nise him; she threat­ens him with a knife. Amin just laughs.

The stab of a dif­fer­ent nee­dle sets Alpha into motion: when the teenag­er returns from a house par­ty with a crude stick-n-poke tat­too of the let­ter A on her arm (not quite a scar­let let­ter but not far off), her moth­er is under­stand­ably angry, but more than that, she’s fright­ened. A fatal blood-borne ill­ness has swept through soci­ety, caus­ing the sick to slow­ly, painful­ly turn to stone, and as one of the few doc­tors will­ing to treat the sick, she’s wit­nessed it first hand. Alpha’s clue­less­ness sends her moth­er into a tail­spin. Amin has already con­tract­ed the dis­ease through his drug use and she can’t bear to lose anoth­er loved one.

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The unnamed virus is an obvi­ous stand-in for AIDS, per­ceived with the same hushed dis­gust by out­siders. In Alpha’s Eng­lish class her teacher (Finnegan Old­field) is sub­ject to homo­pho­bic slurs from his stu­dents; when Alpha lat­er sees him in the hos­pi­tal wait­ing room, accom­pa­ny­ing his sick part­ner, she’s the only per­son who doesn’t recoil. But the painful trans­for­ma­tion of the sick into stone relics is a curi­ous twist. They become mon­u­ments to the very thing that killed them, not just the sick­ness but the treat­ment of the sick – their ostraci­sa­tion and aban­don­ment. Here Ducour­nau posi­tions the dead as mar­tyrs, as wor­thy of a mon­u­ment as any king or gen­er­al, a tes­ta­ment to the bur­den of shame placed upon them by soci­ety which placed the blame for AIDS at the feet of the LGBTQ+ com­mu­ni­ty. The bur­den of shame that rever­ber­at­ed for gen­er­a­tions and still isn’t taught in schools, as we slide back­wards towards con­ser­vatism in our present and run the risk of learn­ing noth­ing from the past.

In school, rumours swirl that Alpha has con­tract­ed the virus and she is bul­lied accord­ing­ly – she remains stony-faced, but her fierce defence mech­a­nisms can only hold out for so long, espe­cial­ly when Adrien turns on her too. She seeks com­fort in her uncle’s com­pa­ny, the only per­son tru­ly will­ing to be hon­est with her. (The only per­son who seems to tru­ly under­stand her.) Even dying Amin is fierce­ly alive, his mouth fixed into a grin like he under­stands a joke no one else is in on, as he’s beg­ging Alpha and her moth­er to let him go. It’s a tow­er­ing per­for­mance of pathos but not pity from Tahar Rahim, and the new­com­er Mélis­sa Boros, with her expres­sive eyes and wild ani­mal phys­i­cal­i­ty, is a rev­e­la­tion as his foil. There’s such lone­li­ness here, of a teenage girl, a sin­gle moth­er, a drug addict and scores of the sick, pushed to the fringes and bound by their isolation.

Mean­while the time­line slips between the past and present, as Alpha’s exhaust­ed moth­er becomes just like her own, grasp­ing at old super­sti­tions. Her ratio­nal, sci­en­tif­ic mind is trau­ma­tised by her own expe­ri­ence and Amin’s ill­ness as well as the new threat to her daugh­ter; she remem­bers how her moth­er used to think Amin was sick with ​‘The Red Wind’ and could be cleansed with water. In her grief she’s will­ing to believe in any­thing that might give her a lit­tle longer with a loved one.

It’s become a run­ning joke how many films seem to revolve around the vague con­cept of grief these days, but con­sid­er­ing it’s only five years since a glob­al pan­dem­ic, it’s under­stand­able that the col­lec­tive process of mourn­ing con­tin­ues to dom­i­nate art and cul­ture. While Covid was large­ly dif­fer­ent from the AIDS pan­dem­ic due to the inher­ent­ly homo­pho­bic and clas­sist nar­ra­tive ped­alled dur­ing the 70s and 80s that led to thou­sands more deaths and delays in health­care advance­ment, it’s hard to not see the frozen stone stat­ues of Alpha and think of how our col­lec­tive rela­tion­ship to death might have changed as a result of what we lived through (then and now). What’s more, grief is an unde­ni­able part of the human expe­ri­ence: to love some­one is to even­tu­al­ly grieve them. It’s an inher­ent­ly vul­ner­a­ble act, and Alpha is an inher­ent­ly vul­ner­a­ble film, no gross-out moments or big body hor­ror show­stop­pers for us – or Ducour­nau – to hide behind. Alpha is as thorny as her pre­vi­ous two fea­tures, but there’s some­thing lone­ly and long­ing here too.

But if death is a part of life, so is danc­ing. Kiss­ing. Laugh­ing. Run­ning. Hold­ing a lady­bird in the palm of your hand, gen­tle and awed, or argu­ing with some­one who loves you down to your bones. For all its cool stone, Alpha is not a cold film, and vibrates with life in the way Raw pulsed with desire and Titane with white-hot fury. Griev­ing is a process of let­ting go, but it’s also a process of find­ing the parts of peo­ple we’ve lost that even­tu­al­ly become a part of us – of learn­ing how to car­ry on even as we can’t forget.

To keep cel­e­brat­ing the craft of film, we have to rely on the sup­port of our mem­bers. Join Club LWLies today and receive access to a host of benefits.





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]]> https://movies.eznews.xyz/world-news/alpha-first-look-review-2/feed/ 0 Urgency and ambition in Cannes Acid 2025 https://movies.eznews.xyz/world-news/urgency-and-ambition-in-cannes-acid-2025-2/ https://movies.eznews.xyz/world-news/urgency-and-ambition-in-cannes-acid-2025-2/#respond Mon, 19 May 2025 18:00:53 +0000 https://movies.eznews.xyz/world-news/urgency-and-ambition-in-cannes-acid-2025-2/

On April 15 of this year, ACID, the youngest and small­est of the par­al­lel selec­tions at Cannes, announced its line­up, which includ­ed Sepi­deh Farsi’s Put Your Soul on Your Hand and Walk, a por­trait of the 25-year-old Pales­tin­ian pho­tog­ra­ph­er Fati­ma Has­souna and her work doc­u­ment­ing the ongo­ing atroc­i­ties in her native Gaza. The next day, Has­souna was killed, along with 10 mem­bers of her fam­i­ly, when an Israeli airstrike tar­get­ed her home. Both ACID and Cannes released state­ments in response to her death; the dif­fer­ence between the two is illu­mi­nat­ing. Cannes said that Has­souna and her fam­i­ly ​“were killed by a mis­sile that hit their home,” and num­bered among ​“the far too many vic­tims of the vio­lence that has engulfed the region.

The Pro­gramme Com­mit­tee of ACID 2025, mean­while, said that ​“an Israeli mis­sile had tar­get­ed her home, killing Fatem and sev­er­al mem­bers of her fam­i­ly,” mak­ing her ​“one more death added to the list of tar­get­ed jour­nal­ists and pho­to­jour­nal­ists in Gaza, and at the time of writ­ing, to the dai­ly litany of vic­tims who die under bombs, out of hunger, and because of pol­i­tics of geno­cide that must be stopped and for which the Israeli far-right gov­ern­ment must be held responsible.”

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Cannes is, for bet­ter or worse, one of the defin­ing bod­ies of con­tem­po­rary insti­tu­tion­al film cul­ture, and let­ting indi­vid­ual film­mak­ers make polit­i­cal state­ments while assid­u­ous­ly pre­tend­ing not to know what they’re say­ing is about the best we can hope for from insti­tu­tion­al film cul­ture at the moment. ACID’s tick­ets are avail­able for book­ing through the Cannes web­site, but it is very much its own thing, even if, by pro­gram­ming Put Your Soul on Your Hand and Walk, it made Fati­ma Has­souna the festival’s busi­ness, and moti­vat­ed Palme d’or jury pres­i­dent Juli­ette Binoche to devote a cou­ple min­utes of her remarks at the open­ing cer­e­mo­ny to the mar­tyred journalist.

Found­ed in the ear­ly 1990s, ​“L’Association du ciné­ma indépen­dant pour sa dif­fu­sion,” the inde­pen­dent film asso­ci­a­tion for its dis­tri­b­u­tion, sup­ports inde­pen­dent film in France and inter­na­tion­al­ly through a num­ber of fes­ti­val and the­atri­cal exhi­bi­tion ini­tia­tives. Its selec­tion at Cannes every year is select­ed by a pro­gram­ming com­mit­tee of asso­ci­a­tion mem­bers, and its selec­tion, this year as every year, reflects the affir­ma­tive pri­or­i­ties of the film artists who make up the asso­ci­a­tion. This year, that seems to mean films whose pol­i­tics are embod­ied in their urgency and ambi­tion, as well as indie-uni­ver­sal­ist human­ism from film­mak­ers from dif­fer­ent backgrounds.

Anoth­er doc­u­men­tary, Syl­vain George’s Obscure Night – ​“Ain’t I a Child,” reg­is­ters among of the for­mer cat­e­go­ry. George embeds with migrant boys in Paris as they hang out all at night in large throngs late night below the Eif­fel Tow­er, sleep­ing rough, scav­eng­ing for coins and cig­a­rette butts, com­par­ing tra­jec­to­ries through Europe’s bureau­cra­cies and cus­to­di­al sys­tems, plans for papers and arrest his­to­ries. Two and three quar­ter hours long and the cul­mi­na­tion of a three-part series, the film uses dura­tion, par­tic­u­lar­ly with­in dis­tend­ed bull ses­sions and pea­cock­ing fights, sim­i­lar to the ear­li­er works of Pedro Cos­ta, and the frames are clas­si­cal as Costa’s are, too, but dif­fer­ent­ly so: the film is in mag­a­zine-glossy black and white, full of strik­ing angles on famous land­marks and unfa­mous, acne-scarred faces, both made equal­ly heroic. 

Like Lance Oppen­heim, George finds reveal­ing moments all the more strik­ing for being con­veyed in a con­spic­u­ous­ly cin­e­mat­ic lan­guage of con­ti­nu­ity edit­ing and strik­ing com­po­si­tions. Giv­en the film’s rap­port with youth explor­ing an urban envi­ron­ment, com­par­isons could also be made to author-sub­ject col­lab­o­ra­tive films like Bill and Turn­er Ross’ Tchoupi­toulas or Michal Marczak’s All These Sleep­less Nights, here achieved in the ser­vice of mov­ing lives from the mar­gins of Europe to the loom­ing foreground.





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]]> https://movies.eznews.xyz/world-news/urgency-and-ambition-in-cannes-acid-2025-2/feed/ 0 Final Destination Bloodlines + Zach Lipovsky and Adam Stein | Cannes… https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/ https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/#respond Thu, 15 May 2025 23:00:00 +0000 https://movies.eznews.xyz/world-news/final-destination-bloodlines-zach-lipovsky-and-adam-stein-cannes/

On Truth & Movies this week, we discuss Final Destination Bloodlines and spoke its directors Zach Lipovsky and Adam Stein about the latest entry in the horror franchise and then the LWLies team will be talking us through the latest from the Cannes Film Festival.

Joining host Leila Latif are Hannah Strong and David Jenkins.

Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.

Email: truthandmovies@​tcolondon.​com

BlueSky and Insta­gram: @LWLies

Pro­duced by TCO



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