In June, the calendar of cinema premieres was dominated by one title: “Elvis” by Baz Luhrmann, which is a one-of-a-kind music and film show. But not the only interesting news this month. What else is worth seeing in June? Here is an original review of the most interesting premieres.
The beauty of cinema lies in its diversity, and the June calendar of cinema premieres perfectly reflects the richness of film art. We have interesting, economical art-house titles, but also the loud, high-budget titles that fans have been waiting for with great interest. From the rich list of June news, Tomasz-Marcin Wrona, a reporter and journalist from tvn24.pl, chose the five most interesting ones that are worth paying attention to.
“Between two worlds”
Juliette Binoche is one of those European actresses who, despite her rich and long career, continues to surprise her viewers. In its latest movie Between Two Worlds uses a wide range of emotions in a way that only eminent actresses can. She has probably created the most important role in her rich career, which deserves all the film awards. And you don’t have to be a fan of her to get carried away by her, laugh with her and let her break her heart.
“Between Two Worlds” is the second full-length fiction directed by the eminent French writer Emmanuel Carrere. This time the author reached for one of the most famous French non-fiction titles “Le Quai de Ouistreham” by Florence Aubenas. The 2010 book went on the trunk on the day of its release. The text shows socio-economic inequalities France and the daily struggles of the modern precariat. Immediately we have associations with the Oscar-winning “Nomadland” by Chloe Zhao, or with films by Ken Loach – a master of socially engaged cinema. But Carrere builds the plot on its own terms. There are no fictional flips or flashy treatments here. There are people and their daily struggles.
Binoche plays the popular Parisian writer Marianne Winkle, who is currently working on her new bestseller regarding the challenges of the modern labor market. Therefore, she decides to go to one of the northern French port cities, where she works as a hotel cleaner. Here she meets – and we with her – people who catch all sorts of odd jobs in order to make ends meet. Without permanent employment and social support, they are filled with anxiety about what tomorrow will bring. And since most of the cast are natural-mouths, we dig even deeper into their day-to-day experiences.
“Between Two Worlds” directed by Emmanuel Carrere in cinemas from 10 June.
There are movies you enjoy bumping into when changing TV channels. One of such classics is the “Toy Story” animation and its subsequent parts. Probably all viewers were amused and moved by the adventures of Woody, Buzz, Bo Peep and the other characters. Although Toy Story is a separate series, Disney’s Pixar has created the story of the person who inspired the famous toy.
The director of the film, which is great entertainment for both young and adult viewers, is Angus MacLane, who worked on “Toy Story” and co-directed “Finding Dory”. We read in the preview that the movie is filled with intergalactic adventures. In the original, English-language version of the voices, the characters are lent by a galaxy of stars: Chris Evans, Keke Palmer, Taika Waititi, Uzo Aduba and James Brolin.
“Buzz Lightyear” directed by Angus MacLane in theaters on June 17th.
Baz Luhrmann over the last quarter of a century has accustomed his fans to the fact that he can create immersive films with absolute momentum like no other. Suffice it to mention whether the cult musical “Moulin Rouge” or an equally great adaptation of “The Great Gatsby”. And he is one of those filmmakers who divide the audience strongly into his fans and anti-fans each time, evoking completely extreme emotions. Certainly, it is difficult to ignore his films.
Information that an Australian filmmaker is tackling Elvis Presley’s story has fueled interest in the Warner Bros. project. Pictures. The closer to the film’s world premiere at the recent Cannes Film Festival, the more interest in what Luhrmann would show grew. The premiere on the Cote d’Azur aroused the greatest enthusiasm of the Cannes audience, A standing ovation lasted 12 minutes – setting this year’s record. In the first reviews that appeared in the industry media, one of the accusations was that Luhrmann once again did not adapt his style to the subject at hand, but the topic to the style. However, I read it as an asset.
Elvis has nothing to do with a standard biographical movie. The plot was structured in such a way that the king of rock’n’roll (played by the incredibly charismatic Austin Butler) is viewed from the perspective of his longtime manager “Colonel” Tom Parker (here is another great role of Tom Hanks – although some people may be irritated by his make-up ). Luhrmann resisted the temptation to go too deep into the intimate details of Presley’s biography, which gives us a universal story about a boy from nowhere who ignites the hearts and imaginations of America and beyond. We have Elvis, his music and the phenomenon, as well as its emotions – a man of flesh and blood.
“Elvis” is a unique example of how to creatively use the biography of a legend without brushing against the obvious and cliche. Very dynamic editing, the multitude of images appearing on the screen simultaneously, give the impression that the film – the visual layer of which is phenomenal and perfectly filled with splendor worthy of Elvis – is almost a three-hour long music video. But such a procedure keeps the narrative at its pace and has no debt. Luhrmann, who recalls his theatrical roots, is also extraordinarily aware of how to draw viewers and viewers into what he is talking about.
“Elvis” directed by Baz Luhrmann in theaters from 24 June.
“Paris, 13th arrondissement”
Jacques Audiard is one of the leading representatives of French auteur cinema. In 2015, his drama “Immigrants” was awarded the Palme d’Or at the Cannes Film Festival. On the other hand, “The Prophet” in 2010 was recognized with the Grand Jury Prize, which is the second most important award of the Cannes event. In the Main Competition of last year’s Cannes Film Festival, Audiard showed his latest feature “Paris, 13th District”, which proved that he had not said the last word in film.
Audiard joined forces with, among others, the outstanding director and screenwriter Celine Sciamma, who co-wrote the script for “Paris, 13th district”. Thanks to this, viewers can see a different face of the French capital. Because although it has been known for a long time that Paris is a city of lovers, how the creators captured the romantic relationships of contemporary 30-year-olds is truly delightful. The French capital becomes not only the background, but also the protagonist of the film. The 13th arrondissement, to be exact, filled with brutalist architecture, skyscrapers, which has little to do with the postcard, well-worn landscapes of Paris.
Audiard used three graphic novels by New York graphic artist and comic book creator Adrian Tomine. However, the French classic has decided to create his own answer to how Tomine draws the confusion and sometimes absurdity of life in a modern metropolis. “Paris, 13th District” gives a new quality to the suburban cinema trend, the best example of which is the famous “Hate” by Mathieu Kassovitz. However, Audiard’s film is a study of contemporary relationships, a portrait of the daily struggles of millennials in which everyone can find themselves. The grainy texture of black and white photos reflects the amazing atmosphere and dynamics of the stories told, in which the fates of the characters are intertwined in a not always obvious way.
“Paris, 13th District” directed by Jacques Audiard in cinemas from 24 June.
Nadav Lapid, one of the most outstanding contemporary Israeli filmmakers, does not take prisoners. Each of his films is not only an artistic event, but also a starting point for deeper reflection. The Israeli aroused international interest in 2014, presenting his “Kindergarten” during the Critics’ Week of the Cannes International Film Festival. The film has an American version with Maggie Gyllenhaal in one of the leading roles. In February this year, he presented his fifth full-length feature “Synonyms” in the Main Competition of the IFF in Berlin. The jury, chaired by Juliette Binoche, recognized the film as the best in this year’s edition. Nadav Lapid became the first Israeli director to reach for the Golden Bear. “Synonyms” also received the FIPRESCI Award of the same festival.
Knee Ahed is probably his most radical film to date. The title had its world premiere during the Main Competition of last year’s Cannes Film Festival, where it was recognized with the Jury Prize.
The film is a kind of punk manifesto in which Lapid – as it usually happens with him – mixes emotions and autobiographical threads with fiction. And although the action takes place in the contemporary Israel, it is very easy to capture the universal message of the film. The director reminds that artistic freedom consists, above all, in crossing consecutive boundaries, expressing one’s own view of reality, regardless of whether or not there is support from the authorities. The main character of the film Y, a director from Tel Aviv, deals with mourning after the death of his mother and the death of freedom, especially the cultural one, which is being ended by the cultural policy pursued by the authorities. With the help of Y, Lapid points out the absurdities of politics and tries not to lose his own voice at the same time. But it is also a film about how drastic political divisions, conflicts and crises related to them take away the possibility of dialogue, attempts to find common elements that could be the starting point for a conversation.
“Knee Ahed” directed by Nadav Lapid in cinemas from 24 June.
Main photo source: courtesy of Warner Bros. Pictures / © 2022 Warner Bros. Entertainment Inc. All Rights Reserved