There’s an inherent vanity in art — somewhere, someone had to decide whatever piece or experience is worth our attention and time, our contemplations and confusions, our laughs and tears. But perhaps more vain, then, is the sport (dare I even call it that?) of stealing art: art heists.
The Cannes Film Festival attracts a number of eccentric types of journalists. Here, Crimson Cannes correspondents break them down.
Outside the Artists' Entrance at the Palais de Festivals in Cannes.
The team of "Give Me Liberty," from left to right, starting with the top row: Maksim Stoyanov, who plays Dima; Director Kirill Mikhanovsky; Chris Galust, who plays Vic; Lauren "Lolo" Spencer, who plays Tracy; Screenplay writer Alice Austen.
From Cannes: ‘Once Upon a Time...in Hollywood’ is Nostalgic Fun — If You Can Overlook Everything Else
25 years after he won the Palme d’Or for “Pulp Fiction,” Quentin Tarantino is back at Cannes with his most recent film, “Once Upon a Time...in Hollywood.”
The film’s cast, consisting of an eclectic mix of street-cast actors and international stars, experienced a number of “firsts” in making “Give Me Liberty.”
Grounded in the Maxi Trial of 1986, the largest anti-mafia trial in history, Bellocchio strays from some historical details, creating an at first enrapturing but ultimately superficial and overextended look into Tommaso Buscetta’s experiences.
What do you do when death is knocking at the door? Director Ira Sachs answers this cliché question through the eyes of Frankie (Isabelle Huppert), a 60-something famous actress with a terminal cancer diagnosis.
There’s a time and place for romanticizing philosophy, but director Terrence Malick’s most recent film is not it.
It’s entertaining and clever, and Porumboiu attempts originality by centering his story on a centuries-year-old secret whistling language inspired by the birds in La Gomera, an island in the Canaries — but beyond that, there’s not a lot of novelty to be found in this twenty-first century film noir.
The red carpet staircase leading up to Grand Theatre Lumière, the largest and most glamorous theater at Cannes where Competition films officially premiere, usually with the crew and cast in attendance.
From Cannes: Director Tian Zhuangzhuang Discusses ‘Dao Ma Zei’ (‘The Horse Thief’) as a Cannes Classic
Chinese director Tian Zhuangzhuang’s 1986 feature, “Dao Ma Zei” (“The Horse Thief”), is one of 19 films to be presented as a Cannes Classic film in this year’s festival.
Five days into the festival, the initial excitement has worn off a bit — but then boots right back up when I unexpectedly see Quentin Tarantino at a screening.
In “Nan Fang Che Zhan De Ju Hui” (“Wild Goose Lake”), director Diao Yinan explores the landscape of impoverished semi-rural China through a thrilling criminal manhunt. In spite of its undeveloped characters, the result is a spectacularly shot and edited film that shows great promise for the emerging director.
Though Lessovitz features an underrepresented perspective in a non-cisgender primary character, it’s still a pretty formulaic love story that had potential to be so much more.
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