Marie Antoinette (1938) Review: The Good, The Bad & How to Watch

  Marie Antoinette (1938) Review: The Good, The Bad & How to Watch  American Film, Drama, History Venice Film Festival, 1938- Winner: Best Actress Academy Awards, 1939- 4 nominations including: Best Actress in a Leading Role When Metro-Goldwyn-Mayer poured an astronomical budget into bringing the doomed French queen to the silver screen in nineteen thirty-eight, Hollywood was not merely making a movie; it was constructing an entire vanished world. Directed primarily by W. S. Van Dyke, Marie Antoinette stands today as one of the ultimate monuments to the golden age of American cinema, a sprawling historical epic that blends lavish romance with the looming terror of the French Revolution.  More on Wikipedia or Mubi  Cinematic Splendor and Tragedy in Hollywood's 1938 Marie Antoinette  At the heart of the production is Norma Shearer, reigning royalty of the studio lot and widow of legendary producer Irving Thalberg, who had passionately championed the pr...

What we saw at Cannes Film Festival, 2024- part 4

 


There were a lot of old masters this year in Competition and Out of Competition, and aside from a few exceptions, their output was disappointing. 

No one is saying there should be an age limit, or failing to understand that their presence in Cannes is important for the festival’s profile. However, some inclusions should not have made it into Competition, slots which could have gone to less obvious choices or to more female voices, as 4 out of 22 titles this year feels like another letdown. 

Whether it’s Francis Ford Coppola’s hubristic folly Megalopolis; Kevin Costner’s patience-testing Horizon: An American Saga; David Cronenberg’s continued downfall trajectory with The Shrouds; Paul Schrader’s Oh, Canada (a significant step down from his trilogy of dramas about male redemption – First Reformed, The Card Counter and Master Gardener); or even Jia Zhangke’s Caught By The Tides (a fascinating film which nonetheless feels like it requires homework if you’re not familiar with the Chinese director’s oeuvre), this year showed that just because you’re a festival mainstay and have directed classics, it does not mean that your newest project is automatically deserving of praise or a pass because of past triumphs. 

Maybe the Cannes Film Festival can set up a special sidebar? Then everyone’s happy.

Yórgos Lánthimos was back in festivals, just one year after his Venice Golden Lion and Oscar-winning Poor Things. And his newest, Kinds of Kindness, won yet another prize (Best Actor for Jesse Plemons), meaning that film festivals just can’t resist the charms of the Master of the Greek Weird Wave. 

Every film he has submitted to either Cannes or Venice has won a prize: Dogtooth (Un Certain Regard Palme – 2009); Alps (Best Screenplay in Venice - 2011); The Lobster (Cannes Jury Prize – 2015); The Killing of a Sacred Deer (Cannes Best Screenplay – 2017); The Favourite (Grand Jury Prize in Venice - 2018); Poor Things (Gold Lion in Venice - 2023). 

All that’s missing is Best Actress and Best Director. And we wouldn’t put it past him to nab those two in the next decade. Μπράβο, Yórgos. 

And you, dear reader - get betting for the next time he's selected. 



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