“Are you fucking? joke I? Okaay,” Kristen Stewart premiered worldwide Era
During the Cannes Film Festival last week, the actors performed like directors, and their new roles were as surprising and compelling as their performances in front of the camera. Scarlett Johannson debuts with Stewart’s messy but vibrant debut Eleanor Greata touching work starring the non-promotional June squibb, reminiscent of the quirky indie comedy of the 90s. Buzzing British hottie Harris Dickinson follows his turn with Nicole Kidman in feminist sex fantasy babygirl By falling behind and making urchinthis is a scorching and shocking social realism.
The three of the three films did not compete in the official Cannes competition, but appeared in the sidebar section, a less pressure berth that provided a more supportive display for emerging and emerging filmmakers. All three have sufficient commercial potential and artistic value to ensure commercial release, even if not the year-end award ceremony. (Sony Pictures Classics have been picked up Eleanor Great before holiday selection). But what is so amazing is their style differences and how they reflect the sensitivity of each actor.
Real form, Era
Then there are Imogen Poots. The intensity of Pots’ wide-eyed eyes and body make her portrayal of Yuknavitch (from sexually abused teenagers to weathered middle-aged mothers) revealing. This is obviously due to Stewart’s vision. The way Pots professionally emits anger, brief moments of joy, indulging in self-pity and ruthless souls proves that there is a reassuring director hand working behind the camera to regulate these mood swings.
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and Eleanor GreatJohnson’s ambitiousness in command, which is more like a test run than an attempt to go all out to be an auteur. It feels like the inspiration for this project is her 94-year-old protagonist. “When we were shooting my movie, I said, ‘If I do my job well, my dream is to see June on Croisette in Cannes.’ We’re here!
Eleanor Great Modest, but emotionally a comic drama, Florida retiree Eleanor moves back to New York City after the death of her long-time best friend, to move back to New York with her overworked adult daughter and ancient grandson. Faced with empty days and lonely nights, she began to radiate the little white lies and eventually snowballed into an avalanche.
As director, Johannson trusts Squibb to carry the film, allowing the actor’s friendly nature to lead a relaxed story into the depths of sadness. “It’s about friendship, it’s about grief, it’s about forgiveness,” Johnson said. “And I think we can use more of these days.”
But, among these three Cannes movie houses urchin– He not only directed a movie, but also wrote a movie. He looked at a young man’s self-destructive mode on the edge of East London, feeling so complete, full of confidence in his plot and performance, and was therefore extremely limited in its direction, and generally absolutely worn out, that the result of the transformation of such a young actor into director made the result look mature.
Skeptics may call urchin The knockout round for iconic kitchen grocery uneasyists like Ken Loach and Mike Leigh who work to document the amazing careers of society that are disenfranchised and alienated. However, Dickinson’s approach is so different that he is more of a successor to these directors than the imitators.
Like Stewart and Johansson, Dickinson’s performance acumen certainly explains the unified absorption performance, especially Frank Dillane’s lead, a frustratingly charming mess, prone to self-destruction, despite his best efforts to resist the temptation of drugs and petty theft. But it was his cumulative power of storytelling, a slow-burning melody script that built his story with confidence in the tragedy, making Dickinson a promising new voice. There is no doubt that all three multi-pulsars will be more.
