Cannes Film Festival 2018: Day 10

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by Matteo Garrone

Dubbed an ‘urban Western’, Dogman takes place in an Italian suburb somewhere between metropolis and wild nature. Marcello (Marcello Fonte), a small and gentle dog groomer, finds himself involved in a dangerous relationship of subjugation with Simone (Edoardo Pesce), a former violent boxer who terrorises the entire neighborhood. In an effort to reaffirm his dignity, Marcello will submit to an unexpected act of vengeance.

Matteo Garrone’s Dogman is a compelling opera of beta-male criminal martyrdom, inspired by a true case. It’s a movie which returns this film-maker to the realist mob world of his 2008 film Gomorrah, but which goes further than that picture in explaining the toxic emotional inadequacy of gangsterism – its brutality, its sycophancy, its pusillanimity, its craven addictions.” – Guardian

In My Room

by Ulrich Köhler

Armin is getting too old for his night life habits and the woman he likes. He’s not really happy, but can’t picture living a different life. One morning he wakes up: the world looks the same as always, but mankind has disappeared.  A film about the frightening gift of maximum freedom.

“A before-and-after-the-wipeout portrait of an alienated news cameraman who suddenly finds himself alone and thriving, Ulrich Köhler’s social critique is horrifying, hilarious and deeply humane.” – BFI

by Lee Chang-dong

Deliveryman Jongsu is out on a job when he runs into Haemi, a girl who once lived in his neighbourhood. She asks if he’d mind looking after her cat while she’s away on a trip to Africa. On her return she introduces to Jongsu an enigmatic young man named Ben, who she met during her trip. And one day Ben tells Jongsu about his most unusual hobby…

” There’s a serious and alarming sense of danger, only you can’t really point to its source. The whole of Burning feels like this.” – Roger Ebert

Laskovoe Bezralichie Mira (The Gentle Indifference of the World)
by Adilkhan Yerzanhov

After her father’s untimely death, Saltanat is forced to trade her idyllic countryside life for the cruel city. She has to find money to pay off the large family debt that her father left behind, in order to save her mother from jail. Friends since their village childhood, her loyal, but penniless admirer Kuandyk follows her just to make sure his sweetheart is safe. Saltanat’s uncle introduces her to a possible groom, who promises to pay off her family’s debts. But Saltanat’s hopes are dashed, when she discovers that the men in this city don’t keep their word. When Kuandyk tries to help Saltanat get the money through other ways, he ends up finding himself in more trouble than he bargained for. Although life keeps dealing them bad hands, Saltanat and Kuandyk never give up.

“A pair of villagers are forced to find work in the city in this indictment of bureaucratic corruption and abuse of power in the post-Soviet wild East.” – Variety

by Nadine Labaki

ZAIN, a 12-year-old boy, faces the Judge.
THE JUDGE: Why are you suing your own parents?
ZAIN: For giving me life.

“Every so often a film comes along whose very existence can be hard to wrap your head around. Not the ones you can’t believe were ever made – goodness knows there’s no shortage of those – but the ones that simultaneously seem so real and so impossible that watching them is like witnessing a magic trick you can’t figure out.” – Telegraph

Un Couteau dans le Coeur (Knife + Heart)

by Yann Gonzalez

Paris, Summer 1979. Anne produces third-rate gay porn. After her editor and lover Lois leaves her, she tries to win her back by shooting her most ambitious film yet with her trusted, flaming sidekick Archibald. But one of her actors is brutally murdered and Anne gets caught up in a strange investigation that turns her life upside-down.

“Set in the world of gay erotica, this strange, violent fantasy starring Vanessa Paradis isn’t funny – or serious – enough.” – Guardian



by Alex Lutz

Gauthier, a young journalist, learns from his mother that he is the illegitimate son of Guy Jamet, a popular French singer whose heyday stretched unevenly from the 1960’s to the nineties. Guy is currently promoting a new album of old material and heads on tour. Armed with a camera, Gauthier decides to follow Guy, recording his daily routine and his concerts to create a documentary portrait.

“A sparkling, ironic salute to age and passing time.” – Hollywood Reporter

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