Cannes Film Festival 2019: Day 11

Cannes Film Festival 2019: Day 11

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by Alexa Dalby

It Must Be Heaven

CAUTION: Here be spoilers

ES escapes from Palestine seeking an alternative homeland, only to find that Palestine is trailing behind him. The promise of a new life turns into a comedy of errors: however far he travels, from Paris to New York, something always reminds him of home. From award-winning director Elia Suleiman, a comic saga exploring identity, nationality and belonging, in which Suleiman asks the fundamental question: where is the place we can truly call home?

The Lighthouse

The film… is a mad torrent of weirdness, with Pattinson, mustachioed and bulge-eyed, at the centre. – Vanity Fair

For his followup to The Witch, Robert Eggers launches a seriously salty story of two men trapped in a turret: think Steptoe and Son at sea and in hell… Robert Eggers’s gripping nightmare shows two lighthouse-keepers in 19th-century Maine going melancholy mad together: a toxic marriage, a dance of death. It is explosively scary and captivatingly beautiful in cinematographer Jarin Blaschke’s fierce monochrome, like a daguerreotype of fear. And the performances from Willem Dafoe and Robert Pattinson have a sledgehammer punch – Pattinson, in particular, just gets better and better… The Lighthouse keeps hold of us with the sheer muscular intelligence and even theatricality of the performances and the first-class writing. – Guardian

Zombi Child

Restlessly shuttling between 1960s Haiti and present-day France, Bertrand Bonello’s Zombi Child roils with colonialist tensions. But as with the director’s prior Nocturama, this quixotic, slow-burn genre film is political largely in the abstract. – Slant


It Must Be Heaven, The Lighthouse and Zombi Child premiered at the Cannes Film Festival 2019.

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