One critic's honest take on three of the buzziest titles debuting at CannesFIlmFestival: ‘May December,’ ‘Asteroid City,’ and ‘Killers of the Flower Moon.
A critic’s notebook from the annual film festival in France, whose premieres are gaining more eyes than ever this year.The annual Cannes Film Festival is once again full of glamour, serious cinema, and strivers crowding the sidewalk of the Croisette. Yet the best film at Cannes so far, Todd Haynes’sstarring Julianne Moore and Natalie Portman, can best be described as a combination of Ingmar Bergman’s.
Portman gives her biggest, harshest, and best performance yet in a role that combines the odd coolness of. Haynes brings bizarre humor to the film without ever mocking the deep pain in every character. Melton is a standout. After charismatic performances in, Melton seemingly delicately cracks here.
De Niro plays William Hale, a rich white cattleman and pillar of his local community in Oklahoma. Secretly, he is also methodically murdering the richest members of the Indigenous Osage Nation for their money and rights to the oil-rich land. Part of his plan is to marry off Osage women to his relatives, including DiCaprio. This criminal plot thread of the almost 3 1/2 hour film feels likeredux, with DiCaprio dominating screen time as a thick Ray Liotta character, scowling and blundering.
A more interesting thread is the relationship between DiCaprio’s Ernest and his wife Mollie, played beautifully by Lily Gladstone. They are in love, and he is slowly killing her, and neither of these things cancels out the other. The tone is reminiscent of the kind of classic Hollywood tragic Women’s Pictures that Scorsese knows well but has never overtly tackled (though came close in both
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