The Best of Cannes 2022

AFTERSUN

The parental bond between an overwhelmed father and his precocious daughter is at the heart of “Aftersun,” a movie that may feel familiar at first glance but quickly reveals itself to be unique and heartfelt. Mostly told in flashbacks from the vantage point of a matured adult, Sophie (Celia Rowlson-Hall) has been recently triggered with nostalgia and the memories won’t stop coming. Taking center stage are the stories of her younger self (Frankie Corio) and her not-much-older father (Paul Mescal) on a seminal holiday twenty years prior. The immediate chemistry between Mescal and Corio is what sells “Aftersun” and transforms it into a magical father-daughter tale that will leave most viewers reaching for a box of tissues.

ARMAGEDDON TIME

Nowhere near the catastrophe its title suggests, “Armageddon Time” is the latest from director James Gray (“Ad Astra,” “Two Lovers”), who has turned inward and made a sometimes uneven but overall delightful coming of age story. Set in 1980’s New York, our guide is young Paul Graff who’s just entered grade school and has a lot to learn outside the classroom. His close relationship with world weary grandpa Aaron (Anthony Hopkins) will be tested as the stakes get higher and life starts to spiral out of control. Anne Hathaway and Jeremy Strong co-star as parents in a movie mostly dominated by kids and their point of view. Issues of class and race will force Paul to grow up fast, especially in a story brimming with provoking social commentary.

CLOSE

Leo (Eden Dambrine) and Remi (Gustav De Waele) are inseparable best friends. Thirteen and about to start a new chapter at school, they’re used to doing everything together, sometimes to the chagrin of the adults around them. But the other kids at school aren’t much help at understanding their bond either and when they start to poke holes in the pair’s once immaculate friendship, things quickly spiral out of control. Director Lukas Dhont (“Girl”) deftly uses time and space to craft a crushingly heartfelt narrative. Seasons change and time moves on over the course of the film but its lingering gut-punch (mostly due to the two young lead performers) is a bittersweet reminder of the innocence of youth.

ELVIS

For the uninitiated, it will become apparent within the film’s initial moments that “Elvis” is not your typical cradle-to-grave biopic. In some ways it is indeed the life story of the seminal and controversial rocker but when all is said and done, “Elvis” is a Baz Luhrmann film, for better or worse. The uniquely talented Australian filmmaker continues the hyper-realistic and bold stylistic choices he employed to “Moulin Rouge” and “The Great Gatsby,” with mixed results. Austin Butler steals the show in front of the camera as the one-of-a-kind Elvis Presley, making for a dynamic lead actor debut. His swagger and charisma are electrifying, and an interesting pairing with co-star Tom Hanks. Playing the dubious Colonel Tom Parker, Hanks swings for the fences in a way he rarely does. It’s a joy to behold even when it doesn’t fully work.

RETURN TO SEOUL

Formerly known as “All the People I’ll Never Be” prior to its festival debut, “Return to Seoul” serves as a bittersweet reminder that love and family are never truly lost. Freddie is twenty five and mostly aimless about her future life choices. Adopted at birth by a French couple and moved away from Korea, she’s never felt at home in either location but a seminal moment changes all that as Freddie’s curiosity to meet her biological parents will unravel secrets from the past. With a standout performance by Park Ji-Min as Freddie, “Return to Seoul” is unique in its complicated view of family life, something that is welcome in stories of this genre.

THREE THOUSAND YEARS OF LONGING

On a fateful trip to Istanbul, narratologist Alithea (Tilda Swinton) has arrived looking for something new. Lonely but content, her days of pining for love are over, thanks largely in part to a messy divorce. But after a wild encounter with a Djinn (Idris Elba) leaves her with three wishes at her disposal, this loose and modern take on “Arabian Nights” explodes into a creative firestorm. Director George Miller (“Mad Max: Fury Road”) is no stranger to the fantastical, and that visual flourish is what makes “Three Thousand Years of Longing” stand out in the best way possible. It’s a fairy tale full of whimsy and madcap energy, bound to frustrate some but reward the brave souls who stick with its chaotic journey.

TRIANGLE OF SADNESS

Director Ruben Ostlund’s previous outing “The Square” is a worthy companion piece to his latest. Both films use satire to attack the ultra-rich and powerful in unexpected ways and “Triangle of Sadness” takes things to new and absurd heights. Social media influencers Carl (Harris Dickinson) and Yaya (Charlbi Dean) argue over everything, even about the luxury cruise they’ve just boarded for the super elite 1%’ers. When the yacht breaks down, the spoiled duo and remaining passengers are forced to make do on a nearby island where money means nothing and class structures begin to switch. Some of Ostlund’s choices for satire are obvious and others truly inspired, making “Triangle of Sadness” a hilarious and maddening take on social norms.

Marco Cerritos