‘The Delinquents’ Review: Rodrigo Moreno’s Bank-Heist Dramedy Shrugs At Genre’s Usual Payoffs – Cannes Film Festival

U.S. NARRATIVE COMPETITIONBest Performance in a U.S. Narrative Feature: Ji-Young Yoo for “Smoking Tigers,” (United States) – World Premiere.

Murtada Elfadl Taking on an expansive topic, the contribution of Black astronauts to the American space program, Lisa Cortés and Diego Hurtado de Mendoza’s “The Space Race” derives its strength from the specific and detailed stories of its subjects. Spanning almost 60 years of historical narrative and concentrating on a handful of scientists who broke barriers, the National Geographic doc is the type that makes the audience question how they have never heard of these people before. Cortés and de Mendoza interweave archival footage with the testimony of the astronauts in a fast-paced and informative way. Rapidly unraveling the fascinating story, they demand the audience’s attention and reward it. Blink or look away for a second and an interesting factoid might be missed. But their greatest asset proves to be the astronauts themselves. Their recollections are emotional and humorous, going a long way to paint such a captivating narrative. The astronauts talk of the weight of being an example and the challenges of having to navigate both white and Black spaces in order to succeed. Yet most movingly, they talk of the camaraderie born of being together in these hallowed and mostly white spaces.

Amber Heard‘s next big appearance has been announced!

EXCLUSIVE: In what will be her first film promotion appearance in a good long time, Amber Heard is set to appear at the 69thTaormina Film Festival for the world premiere of In The Fire. Heard will be in Sicily along with the film’s director Conor Allyn and co-star Eduardo Noriego. The film will premiere June 24 at the Teatro Antico di Taorina. The fest takes place June 23-July 1, 2023 in Sicily.

For his sophomore feature, the follow-up to 2004’s little-seen indie House of D, David Duchovny serves up a similarly niche confection, a sometimes-zany black comedy based on his 2016 novel of the same name. The elevator pitch is a tough one; though it’s funny in places, the tone is all over the place, one minute aspiring for the arch, stoner laughs of PTA’s Inherent Vice, the next veering into straightforward sentiment with a rambling final section that hits a similar highway to the 2006 Sundance hit Little Miss Sunshine. There’s also the f-word: the looming curse of American baseball movies that don’t have the word Field in the title, which could hamper its commercial prospects in the wider world.

Passages, the “sexy and sad” romantic drama from writer-director Ira Sachs, and Sundance Grand Jury Prize-winning documentary Going to Mars: The Nikki Giovani Project, the festival aims to celebrate the community that’s been there for decades.Other highlights of this year’s festival include It’s Only Life After All, a newly-minted documentary about the Indigo Girls, the Argentinian drama Horseplay, and Nelly & Nadine, a poignant documentary about two women who, after their release from Ravensbrück concentration camp, forged a life of companionship and love.Cinema Art executive director Helen Chamberlin, a native Washingtonian who spent her summers as a youth in Rehoboth, has watched the area’s community evolve over the years. “I remember it was very prevalent that there was an LGBT — or LGB — community here in Rehoboth back in the mid-seventies,” she recalls.“When I looked at the original mini film festival that they did for this community — when I got here, it was called ‘LGBTQ Cine-brations’ — I thought to myself, ‘You know, Pride has become such a huge phenomenon globally…let’s get in the game here.”Getting in the game meant re-branding the festival, scheduling it during Pride Month, maintaining partnerships with organizations like festival co-presenter CAMP Rehoboth, and going after some of the most buzzed-about queer-themed titles to premiere this year at Sundance and Berlin.“When you rebrand something, you have to grow your audience,” says Chamberlin, who stepped into her role at the Cinema Art and the Rehoboth Beach Film Society a year ago.

Every new parent deserves a little time away from the kids.

Today, Outfest announced the Opening and Closing Night gala film selections for the 41st edition of the Outfest Los Angeles LGBTQ+ Film Festival, taking place from July 13 – 23 in Los Angeles, presented by Warner Bros. Discovery and Genesis Motor America. The festival will open with Aristotle and Dante Discover the Secrets of the Universe, directed by Aitch Alberto, and the 11-day event will close with Chasing Chasing Amy, directed by Sav Rodgers. The Opening Night Gala will screen at the Orpheum Theatre, with the Closing Night Gala screening at The Montalbán Theatre.

Elsa Keslassy International Correspondent The Cannes Film Festival has unveiled the dates of its 77th edition which will take place May 14-25, 2024. This year’s festival wrapped May 27 with Justine Triet’s “Anatomy of a Fall” winning the Palme d’Or, Jonathan Glazer’s “A Zone of Interest” take home the Grand Prize, and Aki Kaurismäki’s “Fallen Leaves” nabbing the Jury Prize. The jury of the 76th edition was presided over by Ruben Ostlund, the two-time Palme d’Or winning director of “The Square” and “Triangle of Sadness.” The first post-pandemic edition, 2023 was marked by an overall well-received Official Selection lineup and a strong presence of American talent and studios. Some of the anticipated films spotlighted at the festival included Martin Scorsese’s “Killers of the Flower Moon”, Todd Haynes’ “May December” and Wes Anderson‘s “Asteroid City,” as well as Disney’s “Indiana Jones and the Dial of Destiny,” Pedro Almodóvar’s short film “Strange Way of Life” and Pixar’s “Elemental.”

Patrick Frater Asia Bureau Chief “Women Talking,” which won Sarah Polley an Oscar for best adapted screenplay, was this weekend named best narrative feature at the Bali International Film Festival (aka the Balinale).Ashen Nadeem’s “Crows Are White” won the feature documentary prize and “The Tone Wheels,” by Yuda Kurniawan, was named winner of the Gary L Hayes Award for Indonesian Filmmaker. The festival jury called “The Tone Wheels” “an outstanding endeavor that transported us into the backstreets of Jakarta on a captivating musical journey.” The film depicts a busking village where dreams flourish, despite the scarcity of resources and equipment.

Creative Artists Agency announced on Monday that the eighth edition of CAA Moebius, their annual screening series showcasing diverse student filmmakers from around the globe, will return as a live event from June 7-8.

EXCLUSIVE: Scott Alexander and Larry Karaszewski, the famed writers, directors and producers who have thus far shard two Emmys, two PGA Awards, two WGA Awards, a USC Scripter Award and a Golden Globe, will add another prize to their mantels, having been tapped to receive the Bill Wittliff Award for Screenwriting at the 30th annual Austin Film Festival.

At least once, I can say the winners of the 2023 Cannes Film Festival competition are actually the right ones. Maybe not exactly in the order I would have put them, but still, out of the 21 movies competing, it is hard to argue about almost all of the choices made by the Ruben Ostlund-led jury that, among others, included Americans Brie Larson and Paul Dano. I said almost.

Peter Debruge Chief Film Critic A year after collecting his second Palme d‘Or for “The Triangle of Sadness,” Ruben Östlund finds himself on the other end of the equation at the Cannes Film Festival, overseeing the official competition jury awarding this year’s prizes. Östlund is co-presenting the awards with fellow jurors Paul Dano and Brie Larson, Moroccan director Maryam Touzani, French actor Denis Ménochet, British-Zambian writer-director Rungano Nyoni, Afghan author Atiq Rahimi, Argentinian writer-director Damián Szifrón and “Titane” director Julia Ducournau (another Palme d’Or winner). Full list of prizes below.

Heidi Klum accidentally exposed herself during the 2023 Cannes Film Festival. During the red carpet event, Klum, 49, stepped out in a daring yellow dress and truly flaunted it all.  The German and American supermodel stunned in a Zuhair Murad high-slit gown with diamond-shaped cut-out designs on top, showed off major skin and topped off her look with bejeweled beads embellished on the shoulders of her flowing cape. Klum accessorized with large diamond rings, a pair of clear heels and her blonde hair flowed over her shoulder.

The first time Jim Jarmusch came to Cannes was with his sophomore film Stranger Than Paradise, which played the Quinzaine in 1984. “We all shared one apartment that had no hot water, that was up the hill,” he recalls. “One day I had to be on TV and there was no water, so I had to shave with leftover tea.” Those days are long gone; Jarmusch is a fixture on the Croisette these days, and even had the dubious pleasure of opening it in 2019 with his Bill Murray-starring zombie comedy The Dead Don’t Die.

Jessica Kiang Most of us know the illicit rush of the sick day slyly pulled when you’re not really sick. The turning you ignore on your commute, but that one day, for no real reason, you take. Oh, that sudden, intoxicating sniff of freedom! It’s perhaps the closest thing that many of us get as adults to the ceaseless adventure we thought, as children, we’d be living. Argentinian writer-director Rodrigo Moreno’s delightful “The Delinquents” knows the feeling too. Over the course of its droll, meandering, indefinably strange three hours, it may well persuade you that the crazy thing is not to break from your normal routine. The crazy thing is to ever go back. Filmmakers have long been attracted to the heist format for the high drama it can generate, but Moreno begins his movie with a bank robbery so banal it’s hard to believe that’s actually what is going on. And yet, at the end of a workday in a basement lock-room, here is balding bank worker Morán, played with a perfectly defeated air of middle-management moral relativism by Daniel Elias, packing wads of notes into a concealed duffel bag. The vault is no gleaming piece of “Mission: Impossible” engineering, but a scuffed, scruffy cell in which the note-counting machine keeps getting stuck mid-riffle. Even the vault door looks like it’s fed up of being a vault door, and is only continuing to function as such because that is all it knows. 

Date night! Scarlett Johansson and Colin Jost slayed the 76th annual Cannes Film Festival.

“You can’t wake up if you don’t fall asleep,” people are advised more than once in Wes Anderson’s madly original 11th film, Asteroid City, which is both addictively stylized and, like this clever little quote, perhaps more than a tad obscure about what it’s ultimately driving at. Set entirely in a sort-of Monument Valley-adjacent desert setting in 1955 and populated by a fabulous ensemble cast, this Cannes Film Festival competition entry from Focus Features, which will open commercially in the U.S. on June 16, is a madly quirky surprise that oozes creativity at every turn. At the same time, however, it sometimes seems to be reaching for serious creative epiphanies that aren’t forthcoming and which foster puzzlement rather than insight.

Leo Barraclough International Features Editor Kirsten Niehuus, CEO at Medienboard Berlin-Brandenburg, which funds films and TV series production in the Berlin region, and Simone Baumann, managing director of German Films, which promotes and supports the release of German films abroad, welcomed a wide array of guests to their garden party at the Cannes Film Festival on Saturday. Three Medienboard-funded films are in this year’s Competition: Tunisian director Kaouther Ben Hania’s “Four Daughters,” Austrian filmmaker Jessica Hausner’s “Club Zero,” and U.S. helmer Wes Anderson’s “Asteroid City.” Niehuus told Variety: “Those are three very different productions, but it shows the spectrum [of films] that Medienboard supports.” Tunisian films, like “Four Daughters,” need international co-production funding to get made, she said, and “we believe in world cinema, so were very happy [to back it].” Hausner is “one of the most impressive female filmmakers [in the world], and I think there should be more female filmmakers on the Croisette and every other ‘A’ festival,” she said. “Asteroid City” is “the best of American arthouse filmmaking; very stylish, with a great narrative – so we love it,” she said.