Here we go with the movies:
I was expecting a lot from A FELESÉGEM TÖRTÉNETE (THE STORY OF MY WIFE) by Hungarian director Ildikó ENYEDI. The first 40 minutes is where his love story starts with vigour and then the marine animal, taking everything different in this love story seen and told to the point of boredom.
By Tim Roth as the protagonist of a Mia HASEN-LØVE film about where Bergman lived: the mythical island Fårö. And yet, BERGMAN ISLAND will remain a tourism brochure, the kind that you throw away as soon as you receive it.
THE WORST PERSON IN THE WORLD by Joachim TRIER deepens the indifference, if not the laughter, that hearing white people problems usually generates.
Highly anticipated THE FRENCH DISPATCH by Wes ANDERSON, here serves to highlight that beauty is not always good per se.
TRE PIANI by Nanni MORETTI left me waiting for the coarse salt that he knew how to put into everyday dramas. Anyway, here I am still in the Nanni stamina.
Sean PENN fell again. This time the banana peel was FLAG DAY. However, when do we go on a field trip to Minnesota?
DRIVE MY CAR confirms Hitchcock's phrase about adapting minor works and making masterpieces. From a short story by the bland H. Murakami, Ryûsuke HAMAGUCHI, a Japanese director, draws a masterpiece that won the Best Screenplay Award, alongside Oe Takamasa. A story about losses and internal contradictions that we discuss with ourselves being with what we want.
Another masterpiece is Annette from French Leos CARAX. Solid cinema for the director who won the Best Direction Award. All cared for and handled with an iron fist. The counterexample to understand that no matter how well or badly the protagonists of the stories told live, well-exposed interior dramas can move any fiber without the viewer being clearly reflected.
I hope to reach Paul VERHOEVEN's age, over 80, and be that dynamic and clear. BENEDETTA can pass for the less favored sister in a house of geniuses. Outside of Cannes this film will be remembered and more highly valued.
With RED ROCKET, Sean BAKER is back and appreciated using his trick of exposing his country's dominant race. Funnier than his previous movies, just as tough and uncompromising with the big white trash.
The cinema of protest thanks to slowness and contemplation has an icon in Apichatpong WEERASETHAKUL. MEMORY has Tilda Swinton as the protagonist walking through Colombia, the land of coffee, a land that hides unfathomable secrets that must become part of the collective memory of a nation to achieve peace of mind.
Todd HAYNES 'The Velvet Underground is the avant garde of Andy Warhol's Factory in New York. That which always was: art, film and music in one. The great multimedia disco with Lou Reed, John Cale, Nico and The Velvet Underground. The 60's further away from horse racing than the war itself.
DE SON VIVANT by Emmanuelle BERCOT or how we have been walking this planet for more than 40 thousand years and we still do not know how to handle death, which on many occasions goes through the selfish pain inflicted by those who remain alive.
Asghar FARHADI, of course, was awarded by AHERO. A minor work if compared to A Separation or The Salesman that speaks of the horror of being in the middle of morals. A place where things are not going well, the director seems to say.
Kirill SEREBRENNIKOV, prisoner for corruption in Russia or censorship? PETROV’S FLU recounts the anguish and pain and immobility of losing an empire. All wrong, my Argentine friend would say.
During the Critics' Week, an event parallel to the Cannes Film Festival, AMPARO, by Simón MESA SOTO, made its premiere. This Colombian film was taken with Sandra Melissa Torres es Amparo, from which she inherits the name of the film, the award for Newcomer Actress. Take one then home!
And the Golden Palm went to TITANE. Qualified as "delusional" by some and as "wonderful" by others. The director Julia DUCOURNAU is the first woman to direct alone and take home the Palme d'Or. A finishing touch for an equally delusional and wonderful festival crossed by PCR, vaccinations, races, little sleep, parties and more. Crowned, the brooch, by an award ceremony just as bizarre. Thank you Cannes Festival. See you next year.
]]>To begin with, here's a little summary by Lemus on what to expect from Cannes this year:
The time has come for the most important film festival in the world: Cannes Film Festival 74 on an unusual date, from July 6 to 17, for a celebration that was usually held at springtime. Cannes comes like Rambo, with a knife between its teeth, seeking revenge for a 73rd version that could not be. But what can we expect from this version?
It is worth mentioning that the boss of Cannes, Thierry Frémaux, the festival's executive officer, did not behead Spike Lee (Jungle Fever, 1991). The Atlanta-born director and screenwriter will "return" to preside over the main section in this version. The parallel section called Un Certain Regard did not save anything either. Andrea Arnold, the British director of American Honey in 2016, is its president. And of course, the fortnight, the week —Cristian Mungiu, president— and ACID. Each of these parallel festivals with their covered roosters.
From my side I will tell you that the selection of directors for their official competition reminds me of the galacticos of the little-loved Real Madrid by me. Cannes called its headlines and lined them up like few times and these are my most anticipated titles:
In other sections and simultaneous events
DIÁRIOS DE OTSOGA by the Portuguese Miguel GOMES and Maureen FAZENDEIRO. If you remember the Arabian Nights trilogy, you will know the reason for this urgency. If you haven't seen it yet, don't waste any more time.
FUTURA by Pietro MARCELLO, Francesco MUNZI and Alice ROHRWACHER. The name of the latter and the desire that she had been the one to win the Palme d'Or in 2018 with Lazzaro Felice
JADDE KHAKI (Hit the Road) by Panah PANAHI, a feature debut that I will see because the fruit does not fall far from the stick; And this guy has already worked with his dad, Jafar, as an editor on the beautiful 3 Faces, which I got to see at Cannes in 2018.
The Colombian Simón MESA SOTO, Palma de Oro in 2014 with his short Leidi, will present AMPARO, his first feature film at Critics' Week.
Other …
of which I have no information but their names resonate with me:
FLAG DAY, Sean PENN; PETROV’S FLU, Kirill SEREBRENNIKOV; FREDA, Gessica GÉNÉUS; NOCHE DE FUEGO, Tatiana HUEZO; LA CIVIL, Teodora Ana MIHAI; MON LÉGIONNAIRE, Rachel LANG; SAFE, Ian BARLING; ABAJO EL REY, Diego ONGARO; CANCIÓN FANTASMA, Nicolas PEDUZZI; PEQUEÑA PALESTINA, DIARIO DE UN ASEDIO, Abdallah AL-KHATIB; MUNICIPALE, Thomas PAULOT.
Juan Carlos Lemus
Film critic
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Some minimum requirements for a specialty coffee are:
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Dear Starbucks-
I am writing this letter to politely inform you that I’m over you. You were a fine path into the world of coffee, your vanilla bean Frappuccino was my gateway to coffee enjoyment- starting with a single shot of espresso into that sugary whipped cream diabeetus vehicle I was able to work my way to two shots, then three, then over to a standard mocha (most often white chocolate) before I was able to ascend to a more pure form of coffee enjoyment- the standard black drip coffee and espresso. And this was where I started to notice that something was up between us.
See, I hadn’t remained a faithful Starbucks consumer, I had actually developed a fairly serious coffee shop habit. Making it a point to seek out different coffee venues when traveling to a new area- it became a pretty quick method to get a “feel” for a new area and perhaps meet some like-minded individuals. It was at these different coffee shops that I was not only introduced to alternate brewing methods (mmmm….. French press and pour-overs!) but also an incredible array of different beans at a variety of different roasting levels. These different beans had a much greater variation in their taste profile compared to the Starbucks blends… turns out with the right beans, you do not need to add milk or sugar- properly prepared coffee carries a huge range of flavors ranging from fruity to floral to spicy to nutty and to everywhere in-between.
And the thing is, much of these second-order tasting notes are completely destroyed by the way that you guys continuously overroast your coffees! While on one hand, I can sort of understand the desire of having a homogenous flavor that can be brought out of beans bought from all over the world, I would argue that the over roasting totally destroys the best parts of a cup of coffee- those subtle interplays in flavors that really only shine in light and medium roasts.
Furthermore, a pumpkin spice latte is a flavor that needs to die. It is so basic that it has become an internet meme.
Now we're not fully over- your plentiful locations and position within the American psyche make for a pretty convenient meetup location. I’m always a fan of free wifi and I appreciate that I can always have a place to connect when I see your logo when I’m out and about. Often in airports, you’re the only game in town, especially for early morning flights.
But I need you to understand that my needs have changed, my palate has evolved, and that you simply do not cut for me anymore.