Cannes’ love affair with American cinema takes unexpected turns – Generic English

I (personally!) resonate with the points about women, beauty and age that Fargeat seems to be trying to make. Yet the film never goes beyond the obvious, and it quickly becomes terribly repetitive despite her two vigorous lead performances, all the many captivating shots of Qualley pumping her ass like a piston, and the big tsunamis of blood. Far more successful in both feminist and cinematic terms is “Anora,” Sean Baker’s dizzyingly rebellious picaresque about a Brooklyn prostitute, Ani (Mikey Madison), who, more or less impulsively, marries the absurdly youthful son of an oligarch Russian.

“Anora” has emerged as a critical favorite, but critics do not award the top prize, the Palme d’Or. This task falls to the main jury of the competition, which this year includes three female filmmakers: the president of the jury, Greta Gerwig, the Turkish screenwriter Ebru Ceylan and the Lebanese director Nadine Labaki. I would love to hear them talk about “Anora”. I also wonder how the Motion Picture Association, which provides ratings for most films released in the United States, will handle this. “Anora” isn’t explicit, but as Baker’s film opens (via Neon in the U.S.), its humorous, nonjudgmental attitude toward its subject — symbolized by an early shot of bouncing female butts — will continue to inspire applause along with to some joke. -tsk thinks about hand-wringing pieces and ratings.

There have been other delights, bouncy and otherwise, and then there’s Yorgos Lanthimos’ latest, “Kinds of Kindness.” Once again, he joined forces with Emma Stone – who previously collaborated on “The Favourite” and “Poor Things” – to explore the master-slave dynamic. Less visually and narratively ambitious than his recent work, “Kindness” consists of three loosely connected stories in which the same actors (including an invaluable Jesse Plemons) play different characters facing extremes. In one story, a man struggles to free himself from his master; in another, a woman works hard to please her. Those who find Lanthimos’ hard-working eccentricities and cruelty entertaining will presumably enjoy this film as well.