Hlvis arrives late in Cannes, ushered in by screaming hordes. “My father is a good man,” he says, and “everything will be fine, Mom.” The Hound Dog sings on stage and all the girls turn into puddles. The festival originally wanted Baz Luhrmann’s biopic to premiere at night two days before Tuesday, but the film is a singer-songwriter that keeps us waiting. Have we devoured enough movies and drank too many roses? Have we reached the perfect overflow peak condition? Only then could the king finally be revealed.

Like Elvis, this year’s festival kicked off full of energy, with pulsing steps and rocking hips. Now it’s swollen and limp and just starting to rot. I suppose all of these events have a normal lifetime, arc. This went to Graceland, dateline 1977.

Elvis, then, gives us the corrupt king worthy of the apocalypse in Cannes: greedy and distracted, his heartbeat perpetually beating with grain. Luhrmann’s big creative choice here is to frame his story as a sort of gospel of Judas—Col. Tom Parker’s autobiographical memoir of how he snatched raw talent from America’s spit and sawdust circle and duly turned them into gold. It’s a nice idea so far. But the movie takes its cool ingredients and plants them at random through Luhrmann’s chemical toilet. This infernal machine has swept away the Fitzgeralds in the past The great Gatsby A history of Australia. Poor Elvis Presley doesn’t stand a chance.

Indeed, newcomer Austin Butler proves to be quite usable as the talented story Goliath. The real problem is Tom Hanks’ Colonel Parker, who sneaks around the sets as a chubby nosferatu, even going so far as to sometimes. “We’re going to Vegas!” He growls, ushering in the last chapter of the neon-washed movie, a shocking final appearance before the lights are out forever.

Locally, domestically, the 75th Cannes Film Festival was a blast—a jubilant antidote to several years of desperation. However, the atmosphere in the theaters was more subdued, with a respectable selection of competition titles that rarely touch the realms of the High. Park Chan Wooks The decision to go is a swoon-worthy Hitchcock puzzle, perfectly played by Tang Wei and Park Hae-il as lovers of cat and mouse; Tariq Saleh boy from heaven A touching story about state-sponsored deception at Al-Azhar University in Cairo. I also liked Claire Denise’s mellow and mellow tone stars at noon, where lovers Margaret Qualley and Joe Alwyn (a journalist of sorts, and an unnatural oil consultant) lived terribly disoriented in the tropics of Nicaragua. Filmed during Covid (adapted from an ’80s novel by the great Dennis Johnson), it’s a movie where everyone is hidden (literally or figuratively).

Director Claire Dennis, center, with Stars at Noon actors Joe Alwyn and Margaret Qualley. Photo: Pascal Le Segretan/Getty Images

If critics can’t find a masterpiece, they will accept a single turkey, some misfortune, to unite them. But the jury is out. We are in a mess. Valeria Bruni Tedeschis forever young It’s undoubtedly tiring—a breathless reminder of the acting class she introduced in the ’80s—but it’s just a bit of a hoax to be considered useless. God forbid anyone suggests it’s David Cronenberg future crimes not good. It’s a cerebral science fiction about organ harvesting and the outdoors, starring Viggo Mortensen and Léa Seydoux as a performing artist and surgeon. However, this sounded like the familiar Cronenbergian, the equivalent of home cooking – albeit in the form of a warm broth of body parts.

Critics say Cannes is an escape from reality, but that’s only half the story. Movies show the world, and sometimes the outside world completely. Migrant children at the Darden brothers’ home Tori and Lukita: They are contemporaries of the destitute, sleeping in the many entrances to the neighboring shops. cool down Holy spiderMeanwhile, it highlights an Iranian killer who preys on sex workers. Ali Abbasis Thriller takes place in the dirtiest corners of Mashhad. But this city has its downsides of illegal and illegal and exploited workforce which is particularly active during the festival period. Dr. Kahn, treat yourself.

Charlie Dean and Harris Dickinson in Robin Ostland’s Sorrow Triangle: “The Funniest Film in Contest of the Year.” Photo: platform production

Or take the funny Robin Ostlund sadness triangle, the funniest movie in this year’s competition, which takes a satirical look at a luxury cruise. It features class warfare, vomiting gags and Woody Harrelson as a drunken, self-hating captain. After that, some complained that the comedy was overrated and that the cut-off was just a healing game for a millionaire hitting a mole. But this was shown to the elite at the Grand Théâtre Lumière, sandwiched between few yachts and upscale boutiques. If you think the target is too cheap, then most likely the target is you.

The festival ends on Thursday. Down in the market, most of the salespeople fled. Marché, located in the back of the Palais by the Sea, was buzzing with activity during its opening week. Now it is a mausoleum of abandoned kiosks and empty offices. I wander among the ruins of Jackrabbit Media, Aria Animation, and TriCoast Worldwide. There is an envelope left on the table that reads “Sorry I Missed You!” – But who will come and take it, if any?

Close Lukas Dhont.
Lukas Dhont’s “Terminator” shutdown.

Let’s not let it go Elvis The last word is here in Cannes. The final stage of the festival featured a few well-deserved latecomers. Said Restais Laila’s brothers Serves up a mountainous buffet of family intrigue as heroine Taraneh Alidouosti (a deeply veiled mother in patriarchal Iran) wrestles with her idiot husbands. Belgian director Lucas Dönt Close – Even in Competition – Better: A devastating story about a childhood friendship and its eventual demise. Léo (Eden Dambrine) and Rémi (Gustav De Waele) are 13-year-old soulmates who are thrown into a new school and struggle to adapt. Then Leo Remy refuses and the decision will haunt him for years. The close-up is sun-kissed, airy, but at its core is a real human pain. From this we stumbled in tears and in pieces.

And then there turn aroundWritten by screenwriter and director Kelly Richart, who quietly shut out the main competition from admiration. Michelle Williams plays the dejected Lizzie Carr, a struggling sculptor on the fringes of the arts and crafts in Oregon who saddles up sad, twisted dancers for an upcoming show. There is no thunder bombing drama. Not much is resolved. But what a treasure that was tailored to this movie. Reichardt did not invite us to see Lizzie as an unknown and troubled genius nor dismiss her as a joke. Is okay. I will do it. The show can change his fate? Then again maybe not.

Michelle Williams on The Kelly Richart Show.
Custom Made Treasure: Michelle Williams in Kelly Richardt’s appearance. Photo: Alison Riggs / Courtesy of A24

I love the way Reichardt demystifies art – gently lifting it off his pedestal to treat his creativity as another daily chore. Sometimes it’s a good thing; Mostly it is a pull. But the isolated and stubborn process has value in and of itself. After all the pomp and partying of the past two weeks—the bling, the banging, the clapping, the bells—that seems like a nice final message to me. With minimal fuss, the film reminds the Cannes Film Festival of its unchanging core principles. It resets the compass and gets us all back to work.

The best rest…

Documentary about rock in Cannes
Ethan Coen came on stage to introduce himself Jerry Lee Lewis: Head problem, a softball account from a rock ‘n’ roll pioneer. Brett Morgan gave a midnight show of Bowie’s Impressionist splendor Moontime Daydream. Quinn gave us very little; Tomorrow may very much. They both came up with their own way to imprint the legend.

Brett Mornings Monaj Daydream.
Brett Mornings Monaj Daydream.

local favourites
Mark Jenkins Eni men It was a popular atmospheric horror on a spooky island in Cornwall (tin mines, lichens, standing stones). Charlotte Wells after the sun It tells the heartbreakingly weightless story of a father-daughter vacation, beautifully played by Paul Mescal and Francesca Corio. Judging by this narrow sample, British cinema seems to be doing quite well.

Cannes protests
Twelve women set off smoke bombs on the red carpet to draw attention to the 129 murders of women committed in France last year. Elsewhere, the file Three thousand years of longing The premiere was disrupted by the wreckage of a topless portal in protest of rape in Ukraine. Which leads us to…

Red Vision... Ukrainian director Maxim Nakunichi, center, members of the Butterfly Vision cast and crew in Cannes.
Ukrainian director Maxim Nakunichi, center, and members of the cast and crew at the Butterfly Vision premiere. Photo: Guillaume Hurcaguilo/EPA

Coverage of the war broke out all the time, with a special day in Ukraine at the market and various films on the schedule. Director Maxim Nakonichny called for the sirens to sound at the premiere of his film see butterflyBy Sergey Loznitsa The natural history of Devastation He gave us the history of air raids during World War II. In March, director Mantas Kvidaravicius was killed by Russian troops. His unfinished documentary – Mariopole 2 He starred in Cannes as Wake.