Movies

From courtside to Croisette, Spike Lee brings basketball trash talk to a contentious Cannes

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At the premiere of Spike Lee’s latest film, “Highest 2 Lowest,” a woman found herself squished into my row, lamenting that she was delayed by a Samoyed strutting the red carpet in a frilly dress. “Hindered by a dog in a dress!” she exclaimed with a sigh. The canine, Felicity, accompanied an animal rights activist as their plus-one, representing a U.K. organization called NoToDogMeat. However, even Felicity was outshone that evening by the main event, Lee, who ruled the stage in Knicks-themed fashion, sporting a blue-and-orange striped zoot suit with a coordinating fedora and glasses.

Title “From Peak to Valley,” a remake of Akira Kurosawa’s 1963 crime drama “High and Low,” features Denzel Washington as a prosperous record executive who is blackmailed for a $17.5 million ransom by kidnappers claiming they have taken his son. Upon entering the Grand Théâtre Lumière, Washington appeared puzzled yet amused when a photographer attracted his attention with a glittering quartz stone. A few moments later, the actor experienced both delight and shock as Cannes Festival Director Thierry Frémaux presented him an even more radiant token: an unsuspected Honorary Palme d’Or, accompanied by a retrospective montage tracing back to Washington’s debut film role in 1981’s “Carbon Copy.

Frémaux noted on stage, “Today is quite extraordinary,” he said, indicating toward Lee seated in the orchestra. “Is it the 30th or 40th anniversary of ‘Do the Right Thing?’ I’m not certain.

Lee cupped his hands around his mouth. “36!” he yelled.

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Along the Croisette, Ari Aster’s film ‘Eddington,’ starring Joaquin Phoenix and Pedro Pascal, along with a powerful directorial debut by rising star Harris Dickinson, has drawn quite a bit of interest.

Indeed, let’s not mince words. Exactly 36 years ago to the minute, “Do the Right Thing” first graced the screen in that theater. At the Cannes Film Festival of 1989, Spike Lee believed he had a strong chance for the Palme d’Or. However, it was Steven Soderbergh’s “sex, lies, and videotape” that took the top prize. It is said that jury president Wim Wenders refused to honor “Do the Right Thing,” arguing that the act of destruction in its explosive ending wasn’t heroic. Lee reportedly retorted that he had a bat with Wenders’ name on it.

The right moment is crucial for any daring artist. A bold piece of work may strike so forcefully that it takes a while to determine its long-term influence, to discern whether the imprint is one of affection or antipathy.

At Cannes, they often showcase controversial films, taking bold steps. Last year’s event introduced “Anora,” “Emilia Perez,” and “The Substance” as potential Best Picture Oscar nominees. While I enjoyed only one of them, they certainly sparked lively debates. This year, I was intrigued to encounter a critic who disliked three films so far, and each title she mentioned was among my favorites. I asked her to inform me if she finds anything else she despises. I’m keen to watch it.

Among Ari Aster’s “Eddington” and the divisive films of Cannes 2025, Lynne Ramsay’s “Die, My Love” stands out. This film features Jennifer Lawrence and Robert Pattinson as struggling new parents who are ill-equipped for parenthood. Lawrence’s character, Grace, grapples with postpartum depression, feeling like a ghostly presence. To assert her existence, she acts impulsively, often indicating a desire for intimacy.

In addition to Ari Aster’s “Eddington,” the film causing the most debate at Cannes 2025 is Lynne Ramsay’s “Die, My Love.” Starring Jennifer Lawrence and Robert Pattinson, it tells a story about new parents who find parenthood challenging. Lawrence’s character, Grace, struggles with postpartum depression, feeling like a ghostly figure. To prove she’s still alive, she acts in ways that suggest she needs affection.

Mubi, a distributor known for its exceptional taste, acquired “Die My Love” for an astonishing $24 million. To be honest, I didn’t enjoy the film, but the purchase seems justified considering Jessica Lawrence delivers a powerhouse performance that often garners attention in award circuits. This is particularly true given Mubi’s experience last year when they successfully navigated Demi Moore’s remarkable performance in “The Substance” to the Academy Awards.

Between the two main characters, I slightly lean towards awarding Pattinson, whose character, Jackson, portrays a more nuanced and pitiful role as the feeble, overwhelmed husband. Jackson is so clueless that he attempts to lift spirits by bringing home an even more whiny dog, which only adds to the family’s misery. While Felicity, the movie’s dog, is quite annoying, it makes the audience eagerly anticipate the scene where she exits the storyline. (Apologies to Felicity.)

As a movie enthusiast, I found “Pillion” to be an intriguing exploration of a complex romantic dynamic between a quirky traffic warden (Harry Melling) and a powerful biker (Alexander Skarsgård), who leads a gang where each macho member has a submissive partner. The director, Harry Lighton, admitted that the film might stir some sensual feelings among viewers as he introduced it. Indeed, the scene where Melling licks Skarsgård’s leather boots left quite an impression on the audience, particularly with the hint of longing in Melling’s gaze.

The pillion character isn’t biased or critical, but they also don’t assume Melling’s naive character will automatically enjoy everything his partner asks him to do. It’s all about setting personal limits. And there’s humor in it as well, particularly with Melling’s charmingly British parents (Lesley Sharp and Douglas Hodge) acknowledging that their son’s significant other is attractive, though they make sure both young men wear helmets when they take off at high speeds.

In these past eleven days, I’ve found myself immersed in a variety of premieres, and while I’m far from missing home, there was one scene in Hubert Charuel’s “Meteors” that caught my attention – the brief appearance of a vintage Lakers jersey in an addiction-themed buddy dramedy. As I watch this festival unfold, certain patterns have emerged.

Here’s a piece of advice: steer clear of guzzling rosé every time a dog passes away (happened thrice so far), or whenever someone mentions God (numerous times). Or whenever they inject heroin. If you do, you’ll find yourself battling a hangover by midday.

In simpler terms, the movie “The Chronology of Water,” directed by Kristen Stewart in her debut, tells the story of an alcoholic poet portrayed by Imogen Poots. Lidia, the character played by Poots, is reckless and self-destructive, spending most of her life drunk. The movie covers a significant time period in Lidia’s life, from being a 17-year-old to reaching middle age. However, the movie, while featuring beautiful imagery and poetic moments, can sometimes feel overwhelming. It could benefit from a moment of clarity or refreshing, like a splash of cold water.

Without a doubt, Stewart demonstrates a strong artistic commitment, which is not always evident in many projects competing for the festival’s main selection. Following the screening, I descended to the festival’s simultaneous marketplace, the Marché du Film, where producers were excitedly marketing intellectual properties that have recently entered the public domain. One studio was promoting “Bambi: The Reckoning,” “The Poohniverse: Monsters Assemble,” and “Unstrung Pinocchio,” with the latter’s tagline hinting at “No strings holding him back.” Perhaps they will be exceptional!

Among all the films I’m eagerly waiting for at the festival, “Alpha,” directed by Julia Ducournau, is the one I’m most excited about. Known for her shocking and thought-provoking work, she won the Palme d’Or in 2021 with “Titane,” a film that explores the bizarre intersection of auto-erotica and serial murder through the lens of a model who has an unusual fascination with cars. This wasn’t her first foray into controversy; she had already made a splash in 2016 with her gruesome coming-of-age cannibal film “Raw,” which I experienced at its notorious midnight screening at the Toronto International Film Festival. The event was so intense that someone felt compelled to call an ambulance due to the large number of attendees who became faint.

Before seeing “Alpha,” I first watched Charlie Polinger’s “The Plague,” a well-crafted horror film set at a preteen water polo summer camp, which I somewhat complimented by comparing it to “Raw” for children. To my amazement, both films featured the same dramatic scene: a 13-year-old outcast being attacked in a swimming pool and bleeding into the water. Perhaps I underestimated Polinger’s film as a simplified version of “Raw,” or maybe Julia Ducournau is exploring themes from her earlier work.

Alpha”

In this sci-fi drama with a foggy narrative, we follow a young girl named Mélissa Boros who seems to have contracted an unidentified disease that transforms its victims into stone-like statues. Her mother, played brilliantly by Golshifteh Farahani, works at the hospital where the patients are eerily frozen with fear on their faces. It’s as if a plague of Pietàs has taken over.

“Alpha” is a film that meanders between the lethargic tale of the teenager and the mother’s desperate mission to save both her daughter and her troubled brother, Tahar Rahim, a captivating drug addict with a shabby demeanor. The movie oscillates between these two storylines in an elusive and somnolent manner.

The tale about siblings is captivating, and Rahim, with his prominent ribs and veins, seems sculpted for such grandeur. He conducts himself as if he’s unwilling to age, each cough eliciting questionable clouds of dust. It seems Mungiu invites us to ponder whether we can truly love someone enough to accept their passing. However, the director struggles to directly address this issue. Instead, the heavy violins tend to dominate the conversation.

In the end, just like Lee’s “Highest 2 Lowest,” I found myself grappling with whether to praise or criticize this movie. As a fan of Washington, I was intrigued by his portrayal of a music mogul contemplating an exorbitant ransom. However, the intense use of strings and harps in the crisis scenes made it challenging to discern Washington’s character’s thoughts amidst the cacophony. To be honest, I found myself longing to watch the movie with the sound muted. But surprisingly, the French subtitles were a delightful addition. For instance, when Jeffrey Wright’s character uttered “Easy B,” it was beautifully translated as “Cool Abdul.

The latter part of the movie becomes more straightforward and intense, showcasing an outstanding supporting role by ASAP Rocky as character Yung Felon. As it became evident that Lee wasn’t focusing on Kurosawa’s themes of injustice and melancholy – instead, this would be a tale of redemption at any cost – I found myself appreciating it more because Lee is outspoken about his affections (and dislikes). The title appears against a blue backdrop with bold orange text, taking numerous jabs at the Celtics. If the Knicks end up competing against the Oklahoma City Thunder in the NBA Finals, the musical cue that Lee will likely regret is the opening melody of “Oh, What a Beautiful Mornin'” from Rodgers and Hammerstein’s “Oklahoma!”.

I’m not sure if I’ve watched this year’s Oscar nominees, but it seems I’ve caught a lot of filmmakers showcasing their films exactly as they wish. And that freedom alone is enough to make me cheer like Lee and shout with excitement.

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2025-05-23 19:31

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