The Long Week Closes: All’s Well That Ends Well May 20, 2017

Two notes I want to get through lightning-fast because I’m way behind schedule today:

I can say with relief that David Hudson has landed a job at a website deserving of his skills, the Criterion blog.

In case you weren’t aware, our Cannes 2017 index is arranged in the order of industry screenings. The Competition is arranged in the order of press screenings.

Let the Sunshine in (Denis)

Cannes 2017
Ismael’s Ghosts (Arnaud Desplechin, France, 9 reviews)
Loveless (Andrei Zvyagintsev, Russia, 9 reviews)
Wonderstruck (Todd Haynes, United States, 10 reviews)
Okja (Bong Joon-ho, South Korea/US, 8 reviews)
Barbara (Mathieu Amalric, France, 4 reviews)
Let the Sunshine in (Claire Denis, France, 6 reviews)

The Woman Who Left (Diaz)

New Releases
The Woman Who Left (Lav Diaz, Philippines, 16 reviews)
Alien: Covenant (Ridley Scott, United States, 16 reviews)
Afterimage (Andrzej Wajda, Poland, 11 reviews)
Abacus: Small Enough to Jail (Steve James, United States, 10 reviews)

Bless Their Little Hearts (Woodberry)

Cinema of the Past
Bless Their Little Hearts (Billy Woodberry, United States, 1984, 5 reviews)
Reservoir Dogs (Quentin Tarantino, 1992, 5 reviews)
Killer of Sheep (Charles Burnett, United States, 1979, 18 reviews)
Good Morning (Yasujiro Ozu, Japan, 1959, 7 reviews)
Le notti bianche (Luchino Visconti, Italy, 1957, 5 reviews)
Stroszek (Werner Herzog, West Germany, 1977, 7 reviews)

Leave a Reply