Other movies
FERRARI
Director: Michael Mann
The year is 1957. After an impossibly glamorous youth as a star racing driver, Formula One hero Enzo Ferrari (a stonily ruthless Adam Driver) is now the grey-haired head of the family company. The car company makes bespoke vehicles for kings and princes, run a premium racing team – and is rapidly losing money. Enzo, torn between his embittered wife (Penelope Cruz) and his mistress of 12 years (Shailene Woodley) is fixated on winning a major race which, he hopes, will rescue Ferrari’s fortunes. Nothing – not even the body count of dead drivers bringing shame to the sport - can get in his way. Directed by cinema’s enduring master of classy action, Ferrari is a white-knuckle race to the finishing line.
STRANGER THAN PARADISE
Director: Jim Jarmusch
Jim Jarmusch’s landmark indie road movie, made on a minuscule budget, won the Cannes Camera D’Or for the best debut film in 1984. It marked the beginning of Jarmusch’s career and a school of American film-making that was fun and formally serious, drawing inspiration from both European existential arthouse and trashy Americana. John Lurie and Richard Edson play Willie and Eddie, a couple of New York slackers who spend their days eating TV dinners on the couch and occasionally going out to cheat at cards. When Willie’s Hungarian cousin Eva (Eszter Balint) arrives to stay for ten days en route to moving in with an aunt in Cleveland, they regard her as a bother. A year later, however, they decide to take her to sunny Florida. Shot in 67 single-shot scenes in severe black and white, Stranger Than Paradise still feels as ironic, poetic and unutterably cool as ever.
DAMMI
Director: Yann Mounir Demange
Returning from the United Kingdom to Paris, city of his birth, a man who used to be known as Mounir (Riz Ahmed) moves through memories of his past and surreal fragments of the present, searching for connection with his estranged father (Yousfi Henine) and a sense of his misplaced Arab identity. On his journey, he meets a French Algerian woman called Hafzia (Souheila Yacoub) whose own persona suggests to him a possible way of being. Together, they drift between recognisable corners of Paris and stage sets that remind us this is a discussion of ideas, while the narrative also moves between fictional realism and a dream where dancing troupes appear out of the fog. All these fractured moments fit together to form a fascinating picture of internal strife.
COPA 71
Director: Rachel Ramsay
August, 1971. FIFA may have refused to recognise the event as the first Women’s World Cup, but that didn’t deter the teams who came together from England, Argentina, France, Denmark and Italy to play against each other in Mexico. For the teams, it was a huge event: sponsorship was lavish, there was merchandise on every street corner, 110,000 roaring fans filled the historic Azteca stadium with noise and the players were treated like rock stars. In this captivating documentary, those pioneering women tell joyous stories of an international landmark event, while current players ask why they have never even heard of it. As a women’s event outside FIFA’s control, it was simply written out of football history – until now.
TRIANGLE OF SADNESS
Comedy and Drama | Running Time: 142 minutes
2022 / English
Country: Sweden, France, Germany, United Kingdom and United States of America (USA)
MENA Premiere
ProducerPhilippe Bober, Erik Hemmendorff
CastHarriss Dickinson, Zlatko Burić, Woody Harrelson, Charlbi Dean, Thobias Thorwid
ScriptwriterRuben Östlund
Swedish satirist Ruben Ostlund joined a very exclusive club of two-time Cannes Palme d'Or winners with this scathingly hilarious saga of class, power and seasickness. The grotesquely rich passengers on a luxury cruise ship spend their days snapping at their young, eager crew – who are white, bright and beautiful – while an unseen host of brown-skinned workers toil invisibly in the galley and engine room. Meanwhile, the depressed captain (Woody Harrelson) drinks himself into oblivion in his cabin. The tables turn suddenly, however, when pirates invade the ship. The passengers who make it to a desert island are suddenly entirely reliant on the survival skills of a worker from below decks, who isn't inclined to indulge them. The oppressed is all too ready to take a turn as the oppressor. Wild, outsize, brash and clever, Ostlund's Odyssey lets nobody off the hook.