‘Hunt’ Film Review: ‘Squid Game’ Actor Lee Jung-jae Brings a Dense Spy Thriller to Cannes

the 12-minute standing ovation the Broker cast received at the 2022 Cannes Film Festival.The actress recently appeared on an episode of SBS Power FM’s Cine Town segment, where she spoke about what it was like to be part of the Broker cast at the annual film festival. “It felt so unreal,” Lee, who plays Detective Lee in the film, said of the experience, per SBS News.“I had a feeling that Song Kang-ho [who plays the character Sang-hyeon in Broker] would be named ‘Best Actor’ for his performance, so I kind of looked forward to that,” she added.

“Bright Young Things.”The name-dropping does get a bit fast and furious for those not up on their literary-society figures of Britain between the wars — there’s a somewhat awkward introduction of T.E. Lawrence at one point — but Sassoon led the kind of life that brought him into constant contact with the glitterati of the moment.

Clayton Davis We shouldn’t only celebrate AAPI representation in May, as the artistic contributions of our global talents have produced some of the best television and film productions in the last decade. However, as we come to the close of the annual celebration, it’s worth noting the multiple acting contenders that are in the running for Primetime Emmy nominations.Netflix’s “Squid Game” rocked the streaming world, becoming the most-watched series in the platform’s history.

As a procedural drama centrally interested in the radicalization of a young Muslim boy in Belgium, Adil & Bilall’s “Rebel” pulsates with terrible inevitability. Falling behind at school, with an adored older brother already having made the trip to Syria and a trafficker whispering in his ear, it’s less a question of if Nassim (Amir El Arbi, another tremendous kid actor for Cannes ’22 to tick off) is going to find himself on the Jihadist frontline, but when.

Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.

Top Gun: Maverick (★★★☆☆).The folks in the high-flying sequel might as well be throwing their barbs at Maverick star Tom Cruise, who proved himself a box office draw 36 years ago with the phenomenal success of Top Gun, the film that cemented his brash onscreen persona.The courageous, grinning, gunning Little Engine that will always out-hustle his competition no longer radiates that same insatiable hunger. But Cruise — and Maverick — still move like men with something left to prove.Introduced living in an old Navy air hangar somewhere in the Mojave, Pete Mitchell is still a maverick after all these years, still forgoing a helmet while speeding around on his motorcycle, still ranked captain despite decades in service, and still risking his life for Navy and country as a test pilot for a Mach 9 program.

There’s really no overstating the sociocultural impact of Elvis Aaron Presley, whose music and celebrity cleaved the twentieth century in half as an Ozymandias colossus foretelling the future of fame: merchandising, overexposure, descent into self-parody. That’s all in Baz Luhrmann’s new biopic “Elvis,” though mostly because he’s jammed everything he possibly can into its million-millennia run time.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

For decades, Italian filmmakers dominated Cannes.If the 1960s saw Federico Fellini, Michelangelo Antonioni and Luchino Visconti reign supreme, somehow the 1970s were even richer. Elio Petri and Francesco Rosi won shared top prizes in 1972, while for two consecutive years later that decade the Taviani brothers and then Ermanno Olmi hoisted Palmes across a border that sits just 40 miles away.This year’s lone competition title from an Italian director (the only other Italian language film, “The Eight Mountains,” comes courtesy of two Belgians), Mario Martone’s “Nostalgia” will probably not break that particular drought, but the Neapolitan director can take solace in another modest honor: Telling a story about mothers and sons, about gangsters and priests, and about a peculiar kind of longing for the past in a place where little has changed for hundreds of years, “Nostalgia” is a nigh perfect candidate to wave il Tricolore.Taking a thin amount of plot and stretching it as far and wide as it can go, the film itself is far from perfect, but it does benefit from “The Traitor” star Pierfrancesco Favino’s terrific lead performance as a man who learns the hard way that there’s no going home again.After forty years abroad, Felice (Favino, of course) returns to his native Naples a stranger in a familiar land.

The first time Joe Alwyn came to the Cannes Film Festival in 2018, he walked away with the Trophée Chopard. Now he is back to help director Claire Denis compete for the Palme d’Or with Stars at Noon, based on the novel by Denis Johnson. Alwyn stars in the romantic thriller as a mysterious businessman in Nicaragua who falls in love with an American journalist, played by Margaret Qualley. In addition to Stars at Noon, Alwyn also stars in the BBC Three/Hulu series Conversations with Friends directed by Lenny Abrahamson and based on the Sally Rooney novel, which premiered May 15.

“Narcissists are the ones who make it…combined with talent, it’s a plus,” Signe (Kristine Kujath Thorp) coolly observes in the opening stages of the wickedly enjoyable “Sick of Myself.” For anyone who’s watched a partner realize their dreams, a trusted colleague get promoted, or a friend become famous, and curdled with jealousy and resentment, Kristoffer Borgli has made the film for you. The filmmaker’s tart and scabrously funny (both literally and figuratively) sophomore feature is a pointed portrait of a toxic relationship and a razor-sharp evisceration of those warped by a victim mentality.

It probably says something, in spite of their public comments to the contrary, about the severity of the Coen Brothers’ break-up that each of them has proceeded to make a movie that you not only can’t imagine them making together, but that is so easily classifiable — after all, “Shakespeare adaptation” and “musical bio-doc” are two of the most venerable film types of today. The only genre you could safely consign them to before now was their own; they made “Coen Brothers movies,” and everyone knew what that meant, even if they couldn’t precisely pinpoint it.

Cannes Film Festival on Sunday.  The French actress, 36, looked stunning in a black, blue and white striped short sleeved T-shirt which she paired with the black trousers.  The star added some height to her frame in a pair of towering black pointed toe heels as she attended the event in the Campari Lounge at the Palais des Festivals.

so much fun to make,” Coen said when he introduced the film before its Cannes Film Festival premiere in the Salle Bunuel on Sunday night. “I know people always say that, but in this case, it’s true.

Inspired by her own late mother’s long battle with multiple sclerosis, writer/director Emily Atef’s (“Molly’s Way,” “3 Days in Quiberon”) latest work, “More Than Ever,” delivers a poignant and well-acted story. Featuring Gaspard Ulliel’s last performance, the film asks its audience to face the reality of and ponder the inevitability of death as well as the line between those who have experienced a type of suffering and those who haven’t.

“When you want to film a fire, you need to be in the place where the first flame is produced.” So says the disembodied voice of Patricio Guzmán as he recalls a piece of advice received early in his filmmaking career by his mentor, French multimedia artist Chris Marker. In this case, the fire is the Estallido Social, a series of colossal protests and riots that started in the capital city of Santiago and rapidly spread across Chile at the end of 2019.

“Bait,” British filmmaker Mark Jenkin’s breakout feature, could well be considered a horror movie. Set in a quaint little fishing enclave off the Cornish coast, where the ship decks are rickety and the townhouses’ whitewash ever-peeling, the knotty fear of loss is ever-present: of history, of possession, of tradition, of heritage, of liberty.

CANNES, France -- Lee Jung-jae, the award-winning star of Netflix's “Squid Game,” spent years developing the 1980s-set Korean spy thriller “Hunt” before electing to direct himself. He did it a little reluctantly, without big plans to continue filmmaking. But Lee did have a vision for what it could be — and where it could premiere.“Before deciding to direct, I thought I just wanted to make a very fun film,” Lee says.

pic.twitter.com/3F4uIUX2dFGray’s tone at the press conference turned a bit more serious as he discussed the state of cinema and Hollywood and its reliance on turning everything into a franchise. “The whole point should be to inspire creativity. Instead, what we say is, ‘That’s good franchise.’ We used to think of franchises as McDonald’s and Burger King.

Squid Game creator Hwang Dong-hyuk is currently working on a brand-new satirical comedy based on his K-drama’s global success.Yesterday (May 19), Deadline reported that Hwang is currently in the early stages of developing a new satire about the creation of his hit Netflix series Squid Game, provisionally titled The Best Show On The Planet. The new series is said to be based on Hwang’s own personal experiences of being catapulted to global stardom with Squid Game’s instantaneous, viral success. However, as Deadline notes, there are “few details available to share” about the show at the moment.The Best Show On The Planet is now the third project Hwang is publicly known to be working on – following a “violent” new feature film titled Killing Old People Club inspired by the work of Italian novelist and philosopher Umberto Eco, as well as the highly-anticipated second season of Squid Game, currently scheduled for release in 2024.Teasing the new Squid Game season, Hwang said: “Humanity is going to be put to a test through those games once again.