‘Last Summer’ Review: Catherine Breillat’s Devastating Drama Exposes Bourgeois Amorality [Cannes]

wearing flip-flops on the red carpet at the Cannes Film Festival last month, Jennifer Lawrence is setting the record straight about the fashion statement that had the internet abuzz.«Ok, thank you for bringing this up. I would really like to straighten this out,» Lawrence told ET's Nischelle Turner while promoting her new film,  alongside co-star, Andrew Barth Feldman.

Cannes Film Festival, Beckinsale posted an Instagram photo Monday that captures her between the leading men of the 1993 flick.Sharing a “fun fact” about the event, the 49-year-old actress reflected on her gray and green tie-dye-colored bodysuit with a matching shawl.“I had bought the bodysuit in the Sock Shop at the airport and when I got in the car to drive to the premiere with Denzel and Pauletta Washington, all the poppers in the crotch popped themselves open and it flipped up like a roller blind,” she confessed.The “Pot-au-Feu” star recalled that she felt it would be inappropriate to adjust her garment in front of the Washingtons, so she “quietly panicked” instead. “Walked out onto the biggest red carpet of my life and whispered to Keanu and Robert Sean Leonard what had happened.

Jane Fonda took matters into her own hands over the weekend at the 2023 Cannes Film Festival. The 85-year-old veteran actress introduced the Palme d'Or Award to French director Justine Triet.Fonda introduced the historic moment, noting that seven female directors were nominated for the prestigious award for the first time and applauding the festival for its progress.She then gave Triet the award for her film.

Alice Rohrwacher’s “La Chimera” flits between languages (English, Italian, French, German) as fluidly as it does mediums (35mm, Super16mm, and 16mm cinematography) and styles (jerkily sped up Chaplin-esque scenes, clinical CCTV footage, audacious 180-degree camera flips). Rohrwacher uses this mosaic of disparate approaches to hone in on other kinds of incongruous and unpredictable interplay: modern Italy and its ancient past, heartbreak and new love, and the real world and its spiritual mirror realm.

Chinese author Yu Hua is no stranger to Cannes. The famed postmodernist writer’s work first graced the silver screens of the Palais back in 1994 with director Zhang Yimou’s masterclass adaptation of his seminal novel, “To Live.” A searing portrait of a single family’s struggle through China’s mid-century upheaval and the Cultural Revolution, “To Live” would go on to win the festival’s coveted Grand Prix award, Prize of the Ecumenical Jury, and the Best Actor Award.

The official synopsis for Wim Wenders’ “Perfect Days” is one of those rare occasions when a tightly-described premise encapsulates the immensity of a film: a janitor in Japan drives between jobs listening to rock music. In this case, the janitor is Hirayama (Koji Yakusho), an older man whose job is cleaning Tokyo’s elegantly designed public toilets.

In 2008, Kléber Mendonça Filho released “Crítico,” a documentary building upon his years of experience as a film critic to weave a rich chronicling of cinephilia that gathered over 70 critics and filmmakers to discuss cinema in all of its joys and contradictions. Fifteen years later and following great acclaim as a fiction feature director, Filho returns to documentary to investigate some of the themes he first prodded upon in his debut with “Pictures of Ghosts.” READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch  As with Godard and Paris, Fellini and Rome, Scorsese, and New York, Filho is a filmmaker whose craft is deeply intertwined with his love of a city, in this case, the Pernambuco capital of Recife, in the north-east of Brazil.

Having previously won the Palme d’Or in 2001 for “The Son’s Room” and premiered the majority of his films in competition, Italian filmmaker Nanni Moretti has been a mainstay at the Cannes Film Festival for several decades.

In “Terrestrial Verses,” the first collaboration between co-directors Alireza Khatami and Ali Asgari that was met with applause throughout the entirety of its premiere screening in the Un Certain Regard section of this year’s Cannes Film Festival, observes life under Iranian theocracy through the mundane experiences of 12 ordinary people across various ages that are bookended by a prologue and epilogue. As we watch them navigate complex situations related to social repression, the swift 77-minute runtime never misses a beat.

For three decades, filmmaker Takeshi Kitano was fixated on a period of Japanese history, in which Lord Oda Nobunaga was inexplicably betrayed by one of his closest allies, Akechi Mitsuhide, in an ambush at Honno-ji Temple. The reasons behind Mitsuhide’s deception are unknown, but Kitano dedicated years to concocting his own theories, going so far as to pen a novel imagining the events that led to the incident.  Adapted from his own book, “Kubi” is an outrageously exhilarating update of the samurai epic, dialing up the blood and guts and sprinkling in the sick humor to match.

Warwick Thornton is no stranger to La Croisette. His debut feature, “Samson and Delilah,” won the Camera d’Or at the 2009 Cannes Film Festival, where his latest feature, “The New Boy,” just had its premiere.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch “The New Boy” never gives its protagonist, the titular New Boy, a name.

The show is still days away from arriving on HBO, but the months leading up to the release have made “The Idol” a hot-button topic to discuss. And most of the discourse surrounds the behind-the-scenes drama that plagued the production.

Cults and eating disorders warp the mind much in the same way: they convince the individual that their behavior is special and vital, that everyone else can’t see themselves or the world clearly, and that any external opposition only proves the effectiveness and power of their behavior. In her grueling new film “Club Zero,” Austria’s most fearless button-pusher Jessica Hausner fuses the two into a trajectory of slow-moving, inexorable body horror as primly buttoned-up as the lemon-lime polo shirt uniforms selected by her costume-designer sister Tanja.

An English lieutenant, an American cowboy, and a mixed-race Chilean sheepherder venture into the inhospitable limits of the Tierra de Fuego region at the southernmost tip of the South American continent—the ends of the Earth, some might call it. Under the orders of their employer, landowner José Menéndez (the always masterful Alfredo Castro), the trio’s mission is to savagely murder as many Indigenous people as they encounter in their path.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch Set in 1901, “The Settlers” (Los Colonos), a scorching Western on Chile’s blood-soaked national myth, takes aspects from the official text-book history and probes at their conveniently sanitized interpretations of how they shaped the country’s future.

There is no dialogue. There are no humans.

Michel Gondry’s new film “The Book of Solutions,” playing in Directors’ Fortnight at this year’s Cannes Film Festival, centers on the torturous life of being a creative filmmaker and begins at the heart of the matter: Marcc(Pierre Niney) is in a meeting with the producers of his new film, and they are unhappy with what he has delivered them. They’re ending the shoot, putting a new editor in charge to salvage what is already there, and his producing partner of many years finally turns his back on him.

Of King Henry VIII’s six wives, his final marriage to Catherine Parr is perhaps the most ignored. The others are rife with tragedy: there are the two he detested the most that he bent the will of God to legalize divorce; there’s Jane Seymour, who died soon after giving birth to an heir; and most notoriously of all, there are the wives he beheaded.

Justine Triet’s “Anatomy of a Fall,” playing in Competition at this year’s Cannes Film Festival, begins with an interview between a writer and a student interested in her work. It’s a lighthearted, almost flirty discussion where double entendres are part of a seemingly harmless game.

In 2013, filmmaker Anthony Chen’s first feature, “Ilo Ilo,” won the coveted Caméra d’Or at Cannes. Centered around the inseparable bond between a 10-year-old Singaporean boy and his Filipina nanny, Chen’s full-length debut deployed a specific lens — a family weathering the 1997 Asian financial crisis — to tell a universal story exploring the nooks and crannies of our shared humanity.

“Eureka” seems somewhat deceitfully simple: a man called Murphy (Viggo Mortensen) searches for his abducted daughter with the help of the mysterious El Coronel (Chiara Mastroianni), even if he has to shoot everyone who stands in his way.