POMO

It’s a shame about the level of stupidity in many of the scenes, because the natural settings are atmospheric and the monsters are impressive. The idea of setting the story on Earth before our civilization, in the age of dinosaurs, is also fine. Sci-fi B-movies require at least a bit of common sense, which is all the more true with smaller budgets. Here, with solid production under the baton of Sam Raimi and an A-list actor in the lead role, the absence of intelligence is an even greater drawback.

Though The Old Oak is a less dramatic and more predictable social-commentary film than Loach’s previous effort, Sorry We Missed You, it is still personally and emotionally engaging. While focusing on a clash between British village culture and Syrian refugees, Loach also understands the conservatism of the older residents who have paid their dues as members of the working class. And he empathetically captures the culture and inner pain of the immigrants, who are by no means inferior or of less value than the British natives. However, the most powerful life story is that of the local pub landlord, a uniter of the two cultures who does not lack the local hot-headedness, understanding or willingness to help. Visually, Loach’s 100% character-focused directing is typically simple yet humanely sincere. [Cannes FF]

Last Summer is another variation on the theme of a young boy’s affair with his stepmother in an otherwise functional family. The film is okay, as it works on all levels in psychological terms, even when the situation gets complicated and the uncovering of the truth becomes imminent. Queen of Hearts, a more memorable Danish-Swedish variation on the same theme, is much more dramatic and sexually adventurous. [Cannes FF]

Sandra Hüller turns in another superb performance in Anatomy of a Fall, one of two films featuring the actress in the competition section at Cannes this year (the other being The Zone of Interest). Though she plays the main character, we remain unaware of whether she is guilty or not throughout the film. Her expression and speech are mostly cold and we sense the murderer in her, but she plays innocent absolutely naturally. Casting her in this role was an excellent move. This long, very dialogue-oriented film also includes a trial with an interesting, procedural investigation of a tragic event. Well directed with ambiguity in the difficult search for the truth. [Cannes FF]

Perfect Days is a pleasant film about the joy we get from life despite all of the obstacles that it places in our path. The main character is an eternally positive man for whom cleaning toilets in Tokyo is not a degrading job, because he understands its importance in society. And he views society and the people in it with love and respect. Wim Wenders knows how to interestingly tell us about such a protagonist’s everyday life and by gradually revealing the past through the characters that appear in the plot and the properly chosen familiar songs, he is able to define the protagonist’s inner state of mind. There is always a bit of sadness behind every cheerful façade. Japanese actor Kōji Yakusho turns in a great performance, as he succeeds in expressing more without words than he would with them. [Cannes FF]

Based on an actual event. Kidnapped is set in the second half of the 19th century when, from today’s perspective, the Church was still a regular criminal enterprise. The film’s viewer-pleasing editing comprehensively captures the perception of events by all involved parties – the Jewish parents whose child is forcibly abducted by the Church in order to convert him to Christianity; the abducted child’s brother, who stubbornly believes in his rescue even after many years have passed; the Church representatives who believe they are exercising divine power; and the Pope himself, who thinks he is accountable only to God. A devastating injustice perpetrated by a heartless organisation blinded by power, the fruit of which is separation, suffering and the loss of family ties and even one’s own identity. [Cannes FF]

A fragile historical film about the love of food and the love between Juliette Binoche and Benoît Magimel, who are united by said love of food. Both of them are masterful cooks who are able to talk knowledgeably about food and they devote themselves to the gourmet enjoyment of it. A significant part of the runtime comprises slow, elegant shots of meal preparation, while another significant part consists of shots of people eating – either just the two of them or their guests. The film is set almost entirely in the interiors of a house, is thin in terms of plot and is held together by the subtly portrayed, nobly romantic relationship of the central couple, filled with mutual respect. If you enjoy cooking, baking and elegant French dining, add one or two stars to my rating. [Cannes FF]

Inside the Yellow Cocoon is an extremely slow and unexciting “spiritual journey” undertaken by a young man in order to understand the meaning of life, which was changed for him overnight by the tragic death of his sister. Long shots, talking with people, ordinary background scenery comprising the Vietnamese countryside. For three gruelling hours, there is none of the build-up or plot development that we are used to seeing in movies. I can’t imagine being in such a state of mind that this film would better suit me. [Cannes FF]

Veganism is out – don’t eat at all and you’ll become a saint. The progressive Jessica Hausner again composes wonderful industry exteriors and interiors, this time with an industrial and pulp touch (the luxury house is incredible), and the story delves into several issues: the dangers of manipulation at the hands of a mentor, pubescent self-discovery and, ironically, the increasing adoption of emerging diet trends. Her abstract world of characters with almost Wes Anderson-esque style is playful while being both funny and serious, but it is still not mature enough to leave a deeper and lasting impression. [Cannes FF]

Army CGI dogs with deactivated “control chips” bite and eat the victims of a pile-up on a foggy, decaying mega-bridge 70 meters above the ocean. Seriously. Formulaic characters with the typical overacting, screaming Korean actors and every possible genre cliché, including the main protagonist in a truck hanging off of the bridge. And an exceedingly dumb happy ending. Or would you expect a different ending here? [Cannes FF]