I've been reading out and contributing in an ongoing thread on another forum regarding the Cannes film festival, where some users have been posting feedback on the films released thus far. I think it's an interesting discussion and though that some over here would be interested in it as well. Here's what's been covered so far, and I'll be updating every day or two with the new releases and perhaps one or two I'll be watching myself back here in Argentina.
Without further due:
* AMOUR (LOVE) directed by Michael HANEKE
* BAAD EL MAWKEAA (AFTER THE BATTLE) directed by Yousry NASRALLAH
* COSMOPOLIS directed by David CRONENBERG
* DA-REUN NA-RA-E-SUH (IN ANOTHER COUNTRY) directed by HONG Sangsoo
* DE ROUILLE ET D'OS (RUST AND BONE) directed by Jacques AUDIARD
* DO-NUI MAT (THE TASTE OF MONEY) directed by IM Sang-Soo
* DUPÃ DEALURI (BEYOND THE HILLS) directed by Cristian MUNGIU
* HOLY MOTORS directed by Leos CARAX
* JAGTEN (THE HUNT) directed by Thomas VINTERBERG
* KILLING THEM SOFTLY directed by Andrew DOMINIK
* LAWLESS directed by John HILLCOAT
* LIKE SOMEONE IN LOVE directed by Abbas KIAROSTAMI
* MOONRISE KINGDOM directed by Wes ANDERSON
* MUD directed by Jeff NICHOLS
* ON THE ROAD directed by Walter SALLES
* PARADIES: LIEBE (PARADISE: LOVE) directed by Ulrich SEIDL
* POST TENEBRAS LUX directed by Carlos REYGADAS
* REALITY directed by Matteo GARRONE
* THE ANGELS' SHARE directed by Ken LOACH
* THE PAPERBOY directed by Lee DANIELS
* V TUMANE (IN THE FOG) directed by Sergei LOZNITSA
* VOUS N'AVEZ ENCORE RIEN VU (YOU AIN'T SEEN NOTHIN' YET!) directed by Alain RESNAIS
Un Certain Regard
* 11.25 JIKETSU NO HI, MISHIMA YUKIO TO WAKAMONOTACHI (11/25 THE DAY MISHIMA CHOSE HIS OWN FATE) directed by Koji WAKAMATSU
* 7 DÍAS EN LA HABANA (7 DAYS IN HAVANA) directed by Benicio del TORO, Pablo TRAPERO, Julio MEDEM, Elia SULEIMAN, Gaspar NOÉ, Juan Carlos TABIO, Laurent CANTET
* À PERDRE LA RAISON directed by Joachim LAFOSSE
* ANTIVIRAL directed by Brandon CRONENBERG
* BEASTS OF THE SOUTHERN WILD directed by Benh ZEITLIN
* CONFESSION OF A CHILD OF THE CENTURY directed by Sylvie VERHEYDE
* DESPUÉS DE LUCIA directed by Michel FRANCO
* DJECA (CHILDREN OF SARAJEVO) directed by Aida BEGIC
* ELEFANTE BLANCO (WHITE ELEPHANT) directed by Pablo TRAPERO
* GIMME THE LOOT directed by Adam LEON
* LA PIROGUE (THE PIROGUE) directed by Moussa TOURÉ
* LA PLAYA D.C. directed by Juan Andrés ARANGO
* LAURENCE ANYWAYS directed by Xavier DOLAN
* LE GRAND SOIR directed by Benoît DELÉPINE, Gustave KERVERN
* LES CHEVAUX DE DIEU (GOD'S HORSES) directed by Nabil AYOUCH
* MISS LOVELY directed by Ashim AHLUWALIA
* MYSTERY directed by LOU Ye
* RENOIR directed by Gilles BOURDOS
* STUDENT directed by Darezhan OMIRBAYEV
* TROIS MONDES (THREE WORLDS) directed by Catherine CORSINI
Out of competition
* AI TO MAKOTO (FOR LOVE'S SAKE) directed by Takashi MIIKE
* DARIO ARGENTO DRACULA (DARIO ARGENTO'S DRACULA) directed by Dario ARGENTO
* HEMINGWAY & GELLHORN directed by Philip KAUFMAN
* IO E TE (ME AND YOU) directed by Bernardo BERTOLUCCI
* LE FILM ANNIVERSAIRE : UNE JOURNÉE PARTICULIÈRE - HISTOIRE(S) DE FESTIVAL N°4 (FILM ANNIVERSARY: A SPECIAL DAY) directed by Gilles JACOB
* MADAGASCAR 3: EUROPE'S MOST WANTED directed by Eric DARNELL, Tom MCGRATH, Conrad VERNON
* MANIAC directed by Franck KHALFOUN
* THE SAPPHIRES directed by Wayne BLAIR
* THERESE DESQUEYROUX directed by Claude MILLER
, by Wes Anderson
Guy Lodge: MOONRISE KINGDOM (C+) Three courses of dessert, smothered in Desplat. Appealing blush, witty accents, but, as ever, all love and no passion.
Telegraph: http://www.telegraph.co.uk/culture/film ... eview.html
"If its ending feels faintly messy and rushed, Moonrise Kingdom (the name Sam and Suzy give their secret hideaway) is a worthy addition to Anderson’s canon – his deadpan wit meshes nicely with a generous view of human imperfections. A mood elevator of a movie, it’s an ideal opener to a sunny, blue-skies Cannes... ****/*****"
Peter Bradshaw (The Guardian): A very charming, beautifully wrought, if somehow depthless film — eccentric but heartfelt and thought through to the tiniest, quirkiest detail in the classic Anderson style
Xan Brooks (The Guardian): The whole affair feels mannered and makeweight, and I could never shake the sense that [lead actors Jared] Gilman and [Kara] Hayward were acting for the director as opposed to talking to each other... cutesy, quirky and resolutely inconsequential. Cannes opens with a whimper not a roar.
Hollywood Reporter: http://www.hollywoodreporter.com/review ... son-325507
"In other words, this is a Wes Anderson film -- more lightweight than some, possessing a stronger emotional undertow than others -- that will strike the uninitiated as conspicuously arch. This Cannes Film Festival opening-night attraction and competition entry offers a raft of rarefied pleasures for the director's core fan base, but the Focus Features offering has scant hope of breaking through to a wider public upon its May 25 U.S. release."
Time Out: http://www.timeout.com/film/reviews/914 ... ngdom.html
"But you can imagine ‘Moonrise Kingdom’ turning young kids on to cinema; it’s so full of a joyous love for the medium and smart without being clever-clever. Its childishness, sense of innocence and eye for fun all make it a very easy film to love. ****/*****"
-------------------------------------------------------------------------------------RUST AND BONE
, by Jacques Audiard
Guardian review for Rust & Bone: "This is early days in the festival, but Rust and Bone has to be a real contender for prizes, and, the odds will be shortening to vanishing point for Cotillard getting the best actress award... its candour and force are matched by the commitment and intelligence of its two leading players. These factors, linked with the glowing sunlit images captured by cinematographer Stéphane Fontaine and emotion-grabbing music from Alexandre Desplat make for a powerful spectacle. It is a passionate and moving love story which surges out of the screen like a flood tide." ****http://www.guardian.co.uk/film/2012/may ... MUSIMG9382
Evening Standard (pretty poor review imo, just a recap of Audiard's work, followed by a plot synopsis and a few lines of what he thought...): "Schoenaerts is as good as Cotillard at avoiding the trap of melodrama, and they sustain a film that’s not as obviously notable as A Prophet but, much more quietly, makes a considerable mark." ****http://www.thisislondon.co.uk/arts/film ... 63022.html
Rope of Silicon: "This brings me to the film's exemplary achievement… the performances. Along with the visual storytelling of Audiard and cinematographer Stephane Fontaine who shot both Audiard's previous gems A Prophet and The Beat That My Heart Skipped, the kudos here go to Schoenaerts and Cotillard who simply radiate off the screen, be it in times of passion, rage, comfort or despair... As the film came to a close and the credits played over white I couldn't help but feel I had once again seen a true master at work and a pair of actors that will be entertaining us for years to come." A.http://www.ropeofsilicon.com/rust-and-b ... ival-2012/
Time Out "There are intense, violent and upending moments in which Audiard flexes his muscles as a master of gutter atmosphere and plays compellingly with textures and shadows, moving between the light and dark and revelling in half-seen events. It’s a film that vividly and confidently inhabits its own world. But, right from the off, you sense a director fighting to avoid melodrama, sentiment and predictability. It’s a valiant approach that makes for beautiful and strange-looking moments. Yet it also leaves us with a film that feels contrived, meandering and inert, as if the extreme events at its core – and these events constantly threaten to seem ridiculous in isolation – are mere excuses for a tourist excursion into the under regions of France and human experience." **http://www.timeout.com/film/reviews/925 ... -bone.html
The Telegraph: "These are two towering performances in a film of genuine power. Rust and Bone may not be for everyone; but it’s a complex, assured, demanding work." ****http://www.telegraph.co.uk/culture/film ... /9272299/C
Chicago Tribune: "Cowriter and director Audiard hits his theme over and over, like a punch-drunk middleweight: All of us are damaged. We're all animals under the skin. We all need love. And the entire picture feels like a poetic-grunge generality, with a penchant for jacked-up tension that feels applied to the situation, not pulled from within the people on screen. Cotillard's role is more a series of attitudes (she swings from suicidal desperation to can-do saint and revived sensualist in no time) than a three-dimensional human being."http://www.chicagotribune.com/entertain ... 788.column
Hollywood Reporter: "Gritty treatment of a rather conventional emotional dynamic yields a solid, involving drama."http://www.hollywoodreporter.com/review ... ard-326028
-------------------------------------------------------------------------------------AFTER THE BATTLE
, by Yousry Nasrallah
Time Out: "The trouble with ‘After the Battle’ is that it feels like every idea and experience related to the Arab Spring in Egypt has been thrown into the one pot. The film was devised without a script, over the middle months of 2011, and it shows. Some of the acting is hysterical. Much of it is poor. There are too many stereotypes: the young, female, modern divorcee; the unreconstructed, simple and uneducated male; the pantomime villain community leader. The film feels like both a too-basic allegory of the country’s wider woes and a story far too steeped in barely comprehensible detail. It lurches from scenes of intense debate to scenes of soapy melodrama. The dial is mostly turned up to ‘shouty’." **http://www.timeout.com/film/reviews/927 ... attle.html
Screen Daily: "Opting to funnel the polemic through the central character of Rim, a middle-class Cairo advertising executive turned impassioned NGO activist and Mahmoud, an impoverished and illiterate horse-rider from the Giza Pyramid village of Nazlet, Nasrallah never manages to lift his characters out of the plot schematic, despite a generous running time."http://www.screendaily.com/reviews/the- ... entID=1479
Hollywood Reporter: "Resonating with layers of personal and political meaning, the messy aftermath of the Egyptian revolution is captured with immediacy and excitement in the story of a horseman who attacked the demonstrators."http://www.hollywoodreporter.com/review ... iew-325895
Motion Captured: "That's the main point of the film, that idea that people in a conflict are rarely one-note, and that even in a situation where things seem to break upon very clear ideological lines, that's not the whole story. Nasrallah's goal is admirable, and there are scenes and moments in the film where the polemic falls aside and the film works as character study. Unfortunately, Nasrallah is still too close to these events, and there is very little subtlety to his art here."http://www.hitfix.com/blogs/motion-capt ... rab-spring
The Telegraph: "This film’s main selling point is urgent topicality; it’s set in the aftermath of last year’s 'Arab Spring’ protests against the Mubarak regime. But its story feels oblique and over-extended." **http://www.telegraph.co.uk/culture/film ... views.html
, by Ulrich Seidl
The Hollywood Reporter: "Ulrich Seidl’s look at female sex tourism is compelling up to a point, and then just numbing."http://www.hollywoodreporter.com/review ... ove-326278
Varitey: "Ulrich Seidl's "Paradise: Love" is hardly the first film to explore the world of wealthy women and the young studs who service them; it's not even the first to do it in a sex-tourism context, having been beaten to the punch by 2006's "Heading South." But it sure as hell is the dirtiest. Full of explicit sex that will restrict it to niche distribution in only the most tolerant territories, it challenges auds throughout on a multitude of levels. Repulsive and sublimely beautiful, arguably celebratory and damning of its characters, it's hideous and masterful all at once, "Salo" with sunburn."http://www.variety.com/review/VE1117947564/
Time Out: "Tiesel keeps Teresa’s motivations courageously opaque throughout: after losing her nerve during her first encounter with one of her resort’s infinite escorts, she continues to seek it with one unhappy, money-draining tryst after another. It’s her doomed, obtuse, are-we-having-fun-yet gumption that lends a sincere note of heartbreak to Seidl’s otherwise exquisitely austere, calculatedly claustrophobic construction." ***http://www.timeout.com/film/reviews/927 ... -love.html
The Guardian: "Does the film tell us anything we didn't know already? And could anyone expect anything but the most straightforward irony in the title? The answer to both questions is no – but there is undoubted technique, and an authorial address to the audience. No other director could have created that weird vision of Kenyan men, as still as statues, waiting on the beach to stalk their pampered, sunburnt prey." ***http://www.guardian.co.uk/film/2012/may ... ove-review
, by Matteo Garrone
Motion Captured: "This morning, his new film "Reality" made its debut, and it is a wildly different type of film, a biting social satire about the modern age and its media-driven obsession with fame. It is a Job story, at times quite funny, at other times painful, but always shot with a precise, masterful eye, and impeccably performed by the entire ensemble." A-http://www.hitfix.com/blogs/motion-capt ... reality-tv
Indie Wire: ""Reality" may, in fact, put an end to the idea of Garrone as a traditional neorealist; his naturalism is intentionally misleading right up until the simultaneously haunting and wondrous finale. Critics were comparing it to Martin Scorsese's showbiz satire "King of Comedy" almost immediately after the first screening at Cannes, an apt reference point since both movies deal not with the pratfalls of fame but its impact on those obsessed with achieving it for the wrong reasons." A-http://www.indiewire.com/article/cannes ... obsessions
Time Out "Garrone just about keeps things under control long enough to make the surprisingly quiet coda emotionally satisfying and resonant. En route, by the way, he’s helped no end by a splendid cast, some of whom will be familiar from ‘Gomorrah ’." ***http://www.timeout.com/film/reviews/92793/reality.html
Cine-Vue: "Although we can now look to Garrone as an established voice in contemporary Italian cinema, Reality is also firmly-rooted in the traditions of great Italian film. There are Fellini-esque touches of surrealism, but also nods to the neo-realist directors." *****http://www.cine-vue.com/2012/05/cannes- ... ality.html
The Guardian: "It's a likable film played with gusto and heart — though fundamentally a little sentimental and predictable." ***http://www.guardian.co.uk/film/2012/may ... ity-review
, by Apichatpong Weeresethakul
Indiewire: "Clocking in at 61 minutes, Mekong Hotel is Weerasethakul’s triumphal return to Cannes, just two years after his 2010 feature Uncle Boonmee Who Can Recall His Past Lives won the Palme D’Or. As with Moonrise Kingdom and Wes Anderson, Mekong Hotel is nothing new from Weerasethakul. In his Thailand, hungry ghosts, reincarnated animals and frank but casual discussions of sex and violence just . . . happen, unobtrusively. Thailand is Weerasethakul’s foremost concern, being the locus for Mekong Hotel’s impressionistic portrait of longing, both fulfilled and unrequited, and its most refreshingly beguiling protagonist."
Notebook: "The river floats by in the background of most shots—including the dynamically relaxing, entrancing final shot, reminiscent of recent Ernie Gehr New York harbor films, of the digitally-pulsating river motion and circulating vessels—each bare strand of the film is introduced and then, as if forgotten, left, and traces later recalled. Intestines are eaten by possessed ghosts in one section."
Hollywood Reporter: "As a segment of some grand overall design the sluggishly torpid Mekong Hotel, granted an out-of-competition berth at Cannes, might eventually find its place. But taken purely as a stand-alone, it's strictly for festivals, channels and galleries favoring the more impenetrable end of the high-art cinema scene -- and will likely baffle, frustrate and tax those unfamiliar with Weerasethakul's back-catalogue [...] and it's clear that Weerasethakul is even less concerned with conventional narrative considerations here than he was in the free-rangingly imaginative Uncle Boonmee."
, by John Hillcoat
Motion Captured: "the most striking thing about it at first glance is that Hillcoat seems to have learned some new shades as a filmmaker, and for the first time in his career, it feels like he's actually having some fun. It helps that he's got Tom Hardy, Shia LaBeaouf, and Guy Pearce heading a strong ensemble cast, and that the based-on-a-true-story script by Nick Cave is a rowdy bit of hillbilly mythmaking, a purely American tale written in blood and bullet casings." Bhttp://www.hitfix.com/blogs/motion-capt ... ia-labeouf
Rope of Silicon: "Lawless is a great film and its great to see Hillcoat back in territory more along the lines of The Proposition rather than his disappointing and somewhat empty adaptation of Cormac McCarthy's The Road." B+http://www.ropeofsilicon.com/lawless-mo ... ival-2012/
IndieWire: "Though it never elevates into anything more than great entertainment, if that's all we get out of "Lawless" it's hard to complain. This is the kind of material studios used to like making, bringing together an interesting story and an excellent collection of talent to tell the tale. We doubt "Lawless" will be gunning for any Oscars, but as far as top tier storytelling goes, it doesn't get much better than this." Bhttp://blogs.indiewire.com/theplaylist/ ... n-20120519
The Guardian: "Lawless is a handsome-looking film, with a reasonably winning lead performance from Shia LaBeouf. But it's basically a smug, empty exercise in macho-sentimental violence in which we are apparently expected to root for the lovable good ol' boys, as they mumble, shoot, punch and stab." **http://www.guardian.co.uk/film/2012/may ... ess-review
Time Out: "Hillcoat and Cave tell this tale from a perspective of blind fondness, like elderly relatives romanticising their ancestors around the fireplace. It makes for an oddly comfy experience considering the death and hurt at the film's core." ***http://www.timeout.com/film/reviews/91999/lawless.html
The Telegraph: "Hillcoat's film wins its gasps and gulps honestly, but it doesn't remotely strain against the constraints of genre in the same way as last two equally Western-inflected films, The Proposition and The Road. As titles go, Lawless is a good one, but it could hardly be less appropriate." ***http://www.telegraph.co.uk/culture/film ... eview.html
Wonderful Review from Guy Lodge for In Contention: "Acutely aware of how they look at themselves and how we look at them, the film is, by extension, a tangy exercise in movie-star gazing, the physical differences between its leading men reflecting opposed modes of maleness no less prevalent on today's Hollywood star ladder than in the earthier climes of Depression-era Franklin County, Virginia, where "Lawless" spins its allegedly true tale. If that seems an esoteric way to approach an otherwise straightforward story of brothers defending their turf, their honor and their alcohol, that's because the film's sparse thriller structure, with its single villain, unconflicted heroes and straightforward series of shootouts, provides an awful lot of room for such subtextual speculation. The right to booze, after all, has been a stereotypical tenet of lad culture for eons; where better than a Prohibition drama, then, for a supposed lads' film to get a little self-reflexive?" Bhttp://www.hitfix.com/blogs/in-contenti ... -cardigans
-------------------------------------------------------------------------------------BEYOND THE HILLS
, by Cristian Mungiu
Hollywood Reporter: "Mungiu’s harshly beautiful depiction of destructive dogma and sacrificial female victims feels at times like vintage Lars Von Trier... Admittedly two and a half hours of thwarted love and spiritual torment is something of an endurance test, especially considering the action rarely ventures outside its single bleak location. The film’s mid section, especially, feels slow and repetitive. Only during the final act, mostly shot in snow, does Mungiu remind us of the tightly wound tension and crisp visual composition that made 4 Months, 3 Weeks and 2 Days such a powerful thriller. Beyond the Hills is less fun than any film about lesbian nuns and their psychotic ex-lovers ought to be. But it is an engrossingly serious work, and confirms Mungiu as a maturing talent with more universal stories to tell than those defined by Romania’s recent political past."http://www.hollywoodreporter.com/review ... iew-326819
Screen Daily: "Spare, unadorned and strikingly shot, Cristian Mungiu’s film is an unusual rendering of a Romanian exorcism case and is bound to split both audience and critical opinions, some considering it a major achievement and others blaming it for overlong pretentious sensationalism. But it will certainly not pass unnoticed."http://www.screendaily.com/reviews/the- ... entID=1479
IndieWire: "Gorgeously lensed, and executed with an exacting (some would argue dry) aesthetic in which there are minimal camera movements and long takes, "Beyond The Hills," running at two and a half hours, is an endurance test. But pace yourself and lean back, because the rewards are ample. Deceivingly complex, with an emotional center that peels away like an onion the longer it unfolds, this is a powerful effort from Mungiu in which love and faith are both different kinds of poison." B+http://blogs.indiewire.com/theplaylist/ ... s-20120518
Variety: "Performances are excellent, led by the compelling Flutur, her mouth a razor-thin line of defiance, and Stratan, whose eyes become enormous as events play out to their ghastly conclusions. Remarkably, this is the first feature for both leads. Mungiu regular Andriuta presents the bearded priest as a figure of moral authority as well as discernible decency. The actresses cast as the other nuns are given little to work with besides stock scriptural maxims; indeed, the script's wall-to-wall dialogue often feels at odds with Mungiu's visual mastery."http://www.variety.com/review/VE1117947575/
Sight and Sound: "While there’s an almost tragic inexorability to the events depicted, the film frequently surprises by providing small but telling details and ambiguities. In short, it has both substance and subtlety."http://www.bfi.org.uk/sightandsound/new ... -hills.php
, by Michael Haneke
Tweets about Haneke's Amour, courtesy of Jack_Bickle..
Wendy Ide: I cried so much in Haneke's Love, my shoulder blades turned into little tear reservoirs
Xan Brooks: Michael Haneke's Amour the best film at Cannes so far; a Cries & Whispers for the Dignitas generation. Rigorous, unsparing, superbly played
Robbie Collin: Haneke's LOVE is the consummate anti-weepie: assiduously cool-headed and even-tempered in the face of unbearable sadness.
Dave Calhoun: Not one to reduce to a Tweet, but Haneke's Amour is staggering. Incredible compassion, reserve, resolve. Trintignant is wonderful... After Amour, could any say again (there were always wrong) that Haneke's films lacked warmth, love, humanity, compassion?
Nick James: Haneke's emotionally unrestrained and very French chamber piece AMOUR shows Trintignant and Riva off as astonishing actors
Geoff Andrew: Fest's first masterpiece: Haneke's Love. Rich, honest, deeply moving study of coping with intimacy, illness, death. Perfection!
Peter Bradshaw: There was nothing ironic about the title of Amour (dir. Michael Haneke); this director's mastery resounds here like an orchestral chord
David Jenkins: LOVE (Haneke)Typically steely, meticulous look at decay and the prison of the human body.Unbearably sad, also perversely uplifting.
, directed by Brandon Cronenberg
Indiewire: "That inspiration is clear from the opening minutes, when "Antiviral" lays out its eerily dystopia in which companies extract non-infectious diseases from ill celebrities and harvest their blood for eager masses hoping to experience a famous person's malady, suggesting the fanaticism of TMZ culture taken to the ultimate grotesque extreme. [...] The movie looks as dour as the people wandering through it, shot against blank white backdrops and drab office spaces seemingly rented from the sets of "Minority Report" and "THX 1138." Thematically, however, "Antiviral" runs through the spectrum of Cronenberg's greatest hits, from "Videodrome" to "The Fly," "Scanners" and "The Brood." These are by no means terrible reference points, and Cronenberg occasionally does them proud, but never makes them gel together. Criticwire grade: C+
Film School Rejects: "The film is without doubt one of the most provocatively sensory films seen since the heyday of The Fly, with Cronenberg’s visuals amplified by a viscerally affecting score which devolves into raw white-noise after a while and makes for an uncomfortable experience. And even Syd’s bodily functions are amplified as part of that grotesque orchestral accompaniment, his breathing, chewing, swallowing, and spluttering all louder than a conventional mix would dare in order to encourage the audience’s disgust with the bodies emblazoned on screen.
Twitch Film: "The aims of Cronenberg's approach to the material are obvious, and while some will argue that he took the task of creating a soulless emotional void of a future a bit too seriously, I admired the film's conviction, including its reluctance to pander to the audience with pop-culture winks, or even cast any known actors in large roles. The ideas here are imaginative and often clever, but never actually mind-blowing, like the best work in this genre. "
, by Thomas Vinterberg
Time Out: "questions inevitably diminish the film’s deeper impact, as do certain painfully predictable twists. (If you live alone and are under threat, better not let your much-loved dog out of doors on his own!) Still, Vinterberg, his cast and cinematographer Charlotte Bruus Christensen manage to sustain a pleasingly edgy mood, making at least for intelligent, suspenseful entertainment." ***http://www.timeout.com/film/reviews/92799/the-hunt.html
The Guardian: "Well, Vinterberg really has come storming back with this new movie, easily his best since Festen, and a reminder of his superb gift for unsettling collective drama: it is forthright, powerful, composed and directed with clarity and overwhelming force, yet capable of great subtlety and nuance. The theme is admittedly familiar, and so is the implied analysis of what is going on, and yet Vinterberg endows it with such urgency and his superbly constructed script, co-written with Tobias Lindholm, is a screenplay masterclass, completely upending your expectations as how the climactic scene is going to play out." ****http://www.guardian.co.uk/film/2012/may ... sfeed=true
Screen Daily: "Early plotting here is fast, so fast that it can sometimes feel false. But any initial doubts that this might prove to be simply a beautifully-crafted TV-movie are expertly laid waste as The Hunt, propelled by Mads Mikkelsen in an everyman role, hits home - and hits hard. Given the right critical backing, Trust Nordisk should see this expertly made film notch up strong international exposure; a Cannes prize would help, of course, and Mikkelson at least must be a contender for an outstanding performance as Vinterberg’s sacrificial lamb."http://www.screendaily.com/reviews/the- ... 74.article
Hollywood Reporter: "Thomas Vinterberg’s best film since “Festen” is an unsettling psychological drama built around a harrowing performance from Mads Mikkelsen."http://www.hollywoodreporter.com/review ... erg-326887
Filmoria "The Hunt is a film that one knows will stay with me long after this review is written; it’ll haunt me for days with its uncompromising nature and I’m certain that’s just what Vinterberg intended to do. This is a bruising, greatly distressing but simply fascinating film that’s beautifully told, captured and performed. It’s Vinterberg’s best film since Festen no questions." 9/10http://www.filmoria.co.uk/2012/05/cannes-film-festival-2012-the-hunt-review/?utm_campaign=Cannes%20Film%20Festival%202012:%20The%20Hut%20Review&utm_medium=twitter&utm_source=twitter