JAMES LATTIMER is a film critic, festival programmer, and filmmaker based in Berlin.
They say familiarity breeds contempt, which might explain why this year’s Cannes program was one of the worst received in recent memory.
Following a couple of less-than-stellar editions, the Cannes competition returned to a degree of form this year, finding not just a more effective balance between expected quantities and intriguing newcomersbut also managing to assemble them around a loose themenamely, the push and pull between genre and auteurism and how one can often resemble the other.
After the critical bashing suffered by last year’s Cannes selection, the consensus on this year’s edition was more positive, a perplexing conclusion given that the festival’s by-now well-worn curatorial recipe was once again followed more or less to the letter. For all the handwringing about Netflix withdrawing its titles after a spat with artistic director Thierry Frémaux over theatrical distribution, the competition slate offered yet another stolid blend of Cannes stalwarts, established names, and newer faces of questionable merit, with only the latter suggesting that slots needed to be filled
- Known Quantities: Cannes 2017 by James Lattimer
- Cannes 2018: No Miraculous Conversions by James Lattimer
- Cannes 2019: The Push and Pull between Genre and Auteurism by James Lattimer