‘Homecoming’ Review: Catherine Corsini’s Feature Is a Hedonistic Coming-of-Age Tale

Leo Barraclough International Features Editor Sumerian has acquired the North American rights to brutal coming-of-age story “Mascot,” which had its world premiere in January at Slamdance, and its international premiere at the International Film Festival Rotterdam the same month. Sumerian is planning a limited theatrical release this year under the English title “Fortunate Son.” The pickup marks the second acquisition for Sumerian’s new film and streaming division, which launched this year. Sumerian founder Ash Avildsen said the film is “a dark, brutally authentic and beautifully shot independent film centered around troubled youth in unorthodox households. It will undoubtedly strike a nerve with audiences who appreciate gritty arthouse drama, as it did with me.”

When it was first announced, “I’m A Virgo” was described as a coming-of-age tale about a 13-foot-tall young Black man finally going outside his home and integrating into the larger world. That alone is an interesting story.

Alison Herman TV Critic A popular reading of superhero mania holds that it’s our era’s substitute for shared mythology; instead of Zeus shooting lightning bolts from Mount Olympus, we have Cyclops shooting beams from his eyeballs. So it’s fitting that the coming-of-age tale “American Born Chinese” streams on Disney+, the service that’s a one-stop shop for all things Marvel; Destin Daniel Cretton of “Shang-Chi and the Legend of the Ten Rings,” the first Marvel film to star an Asian American hero, even directs the pilot. But “American Born Chinese” flips the script: rather than use superheroes for modern-day mythmaking, it infuses centuries-old myths into genres (action, bildungsroman) now dominated by superheroes.

The Cannes Film Festival red carpet is usually accustomed to protests and demonstrations. Last year there were multiple.

Leading French producer Marc Missonnier, who had his Cannes Film Festival accreditation revoked after he publicly criticized its selection of Catherine Corsini’s Homecoming, has finally received a badge.

God, what a terrible thing it is to be a teenage girl. A body once free to roam and run and be transformed by the unforgivable rush of hormones, cunning little tricksters pumped through blood in a mad rush to reach the anti-climatic cusp of adulthood.

Jessica Kiang Late on in Kaouther Ben Hania’s compelling, ambitious hybrid “Four Daughters,” Olfa Hamrouni — the film’s focus, its fixation and its most charismatically contradictory character — strokes a purring, heavily pregnant ginger cat. Sometimes, she tells us, a cat will be so scared for her babies that she eats them. It’s Olfa’s covert acknowledgement that her own misguided protective urge, forged by her hard history with men and mother alike, might have contributed to her life’s great, rupturing tragedy: when, in 2015, the elder two of her four girls ran away to join ISIS. But it also recalls one of her earlier to-camera segments, when she described her daughters, as though shielding herself from the pain of the real with the language of fable, as having been “devoured by the wolf.” So which is it: Were Ghofran and Rahma, 16 and 15 at the time of their disappearance, eaten up by their cat-mother or consumed by the predatory wolves of religious fundamentalism, cultural indoctrination, ISIS itself?

Elsa Keslassy International Correspondent Leading French producer Michael Gentile’s Paris-based outfit The Film is about to start shooting Julie Delpy’s next directorial outing, “The Barbarians,” and Laurence Arné’s “Les Hennedricks” starring Dany Boon. Delpy’s comeback to French filmmaking since “Lolo,” “The Barbarians” is a satirical comedy unfolding in a small town in Brittany which is preparing to welcome Ukrainian refugees after voting unanimously to greet them in exchange for subsidies from the government. But instead of seeing Ukrainians come into town, they see Syrian refugees, causing some tensions among locals and testing their liberal beliefs. Delpy will star in the film opposite Sandrine Kiberlain (“Mademoiselle Chambon”), Laurent Lafitte (“Elle”) and Ziad Bakri (“The Weekend Away”), India Hair (“Angry Annie”), Mathieu Demy (“The Bureau”) and Delpy’s father Albert Delpy.

Welcome, Insiders. Cannes is now well under way while the picket lines remain busy in LA. Jesse Whittock here in London. I’ve rounded up all the big and important news from film and TV, so sit back and enjoy the read. Subscribe here.

Christopher Vourlias Actor Sebastian Stan has come on board to produce “Blue Banks,” the feature debut of Romanian director Andreea Cristina Borțun, whose 2021 short film “When Night Meets Dawn” premiered in Directors’ Fortnight. Pic follows Lavinia, a single mother trying to make a better life on her own terms for herself and her 13-year-old son, who live in a poor Romanian village. She is impulsive, prone to misreading situations, and not sure how to love. But her son, on the threshold between childhood and adolescence, needs his mother more than ever, and over the course of four seasons their relationship is put to the test. Stan, who was born in Romania, will produce the film alongside Romanian producer Gabi Suciu, French co-producers Jean-Laurent Csinidis and Jerome Nunes and Slovenian co-producer Ales Pavlin. Shooting will take place in Romania throughout the year and is set to wrap in October.

The European Producers Club (EPC) has issued a statement expressing solidarity for French producer Marc Missonnier who has had his Cannes accreditation revoked for criticizing the festival on social media.

If you thought Maïwenn’s Johnny Depp movie Jeanne du Barry arrived at Cannes with a lot of baggage, Catherine Corsini’s Homecoming didn’t spare in its ruffling of French media feathers with stories about harassment of workers on the pic’s set and a masturbation scene involving minors.

Guy Lodge Film Critic The story template of “Homecoming” is a standard one: Years after an unexplained trauma, a family returns to the place they once called home, where hidden truths come to light and bitter conflicts arise over the course of one seemingly idyllic summer. Yet for all the secrets and lies that shape the narrative of Catherine Corsini’s straightforwardly told but consistently intriguing new film, its most interesting tensions often emerge from things its characters already know, even if they haven’t acknowledged them out loud. For Black single parent Khédidja (Aïssatou Diallo Sagna), arriving at the Corsican birthplace of her children after 15 years away, disinterring a buried past throws her maternal insecurities into sharp relief; for her teenage daughters Jessica (Suzy Bemba) and Farah (Esther Gohourou), what revelations the trip yields only underline their respective senses of not-belonging in their own small family.

There is the good sister, with A grades, university prospects and a sense of decorum in company. And then there is the younger sister who can’t see a volume button without turning up the music, who is quick to complain or pick an argument, who spots someone else’s drug stash and thinks she could steal it and maybe make some pocket money selling deals on the beach, because what – what – could possibly go wrong with that plan?

A French producer who called for a boycott of the Cannes Film Festival over its selection of Catherine Corsini’s Competition film Homecoming, claims his accreditation has been cancelled in retaliation.

The use of body horror allegories in cinema to address the physical, physiological, and mental changes brought on by puberty could hardly be called original. However, by delightfully and intelligently remixing symbols and metaphors Malaysian director Amanda Nell Eu refreshes the concept in her zesty debut feature “Tiger Stripes.”  The term “body horror” could in fact be considered a misnomer in this case, as our fierce lead protagonist Zaffan (Zafreen Zairizal) doesn’t undergo anything as monstrous as growing a car in her belly or a biogun out of her hand.

Zack Sharf Digital News Director The 2023 Cannes Film Festival is jam-packed with buzzy world premieres, from Martin Scorsese’s “Killers of the Flower Moon” to Wes Anderson’s “Asteroid City.” Todd Haynes is also back to unveil “May December,” featuring the A-list pairing of Natalie Portman and Julianne Moore, while Disney is bringing Harrison Ford to the Croisette for “Indiana Jones and the Dial of Destiny.” New films from Pedro Almodovar, Jessica Hautner, Jonathan Glazer, Catherine Corsini, Hirokazu Kore-eda and more are also set to make their debuts at Cannes this year. Cannes is often seen as a launching pad for Oscar season. Warner Bros. in 2022 kicked off its lengthy awards run for Baz Luhrmann’s “Elvis” on the French Riviera, with the film going on to land eight Academy Award nominations, including best picture. Palme d’Or winner “Triangle of Sadness” also picked up Oscar nods for best picture, director and original screenplay. Two international film nominees, “Close” and “EO,” launched at last year’s festival, while “Aftersun” best actor nominee Paul Mescal got his awards start in the Directors Fortnight sidebar. All of this is to say the industry will be closely watching the buzz on all of this year’s world premieres.

Speaking on her decision to bring the story of chief royal mistress Jeanne du Barry to screen, French actress and director Maïwenn said the figure of the Countess seduced her because she is a “magnificent loser,” adding that the allure might have a thing or two to the similarities they share. And, after watching Cannes opener “Jeanne du Barry,” it is easy to see why the controversial director identifies with her heroine.

“It’s important you keep your expectations in check:” In “Stay Awake,” the prescient debut of director Jamie Sisley, we meet two teenage brothers, Ethan (Wyatt Olef) and Derek (Fin Argus), who not only have to deal with the usual problems of adolescence, but also play the role of caretaker to a deeply depressive and self-destructive mother (Chrissy Metz) in the throes of addiction.

Elsa Keslassy International Correspondent Catherine Corsini, an outspoken queer activist and co-founder of France’s feminist organization 50:50, should have been celebrating her new film’s inclusion in the competition lineup of the Cannes Film Festival. Instead, she found herself in the middle of a firestorm after “Homecoming,” her coming-of-age story, failed to get the proper government approvals for a scene of a sexual nature involving two minors.   Corsini admits that mistakes were made. But she says that she took every effort to protect her young actors from being exploited.   That scene, which was eventually cut from the movie, became the object of wild rumors, which Corsini said are false, “crazy, completely out of control.” “I’m hallucinating at things I’m reading, accusing me of having forced Esther to do a blowjob or masturbate herself,” she said.