Top 16 Cannes Movies Everyone Will Be Talking in 2023
Top Cannes Movies to Watch in 2023
Here we are discussing the top Cannes movies that you should watch in 2023.
1. About Dry Grasses
3. Asteroid City
Wes Anderson’s style, which has been all over the internet lately, is on full display in Asteroid City, which is supposed to be a look behind the scenes at the making of a play about a group of people who get stuck in a desert city in 1955.
In reality, it’s a movie about loss and how we try to deal with it in different ways, such as through anger, acting, and magic. But it’s also a movie about space, both outer and inner, and how and why artists keep trying to figure it out. Anderson isn’t for everyone—he’s not for me, either—but this is a movie for Wes fans, and Jeff Goldblum’s part alone makes it worth seeing.
4. The Breaking Ice
The Breaking Ice is a story about three young people who spend a weekend together in a Chinese village near the North Korean border. They are a finance worker (Liu Haoran), a tour guide (Zhou Dongyu), and a local who works in his family’s restaurant (Qu Chuxiao). As they go to different places and see things, they find that they have more in common than they thought.
Anthony Chen writes a meditation about trauma and depression, especially the kind that comes from putting off goals, losing love, and losing interest in living. The movie is almost too sweet, but it doesn’t get too sappy because of how light-hearted it is and how well the actors play their parts.
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5. Close Your Eyes
Victor Erice, the veteran and renowned director, made his debut with The Spirit of the Beehive, probably the best Spanish movie in history, fifty years ago. Close Your Eyes appears to be his method of saying farewell to the medium. It tells the story of Miguel Garay (Manolo Solo), a director whose most recent project was abruptly terminated when his companion and star actor vanished without a trace.
After years of living in a tranquil beach community, he has embarked on a mission to discover what happened, and the outcome is a compelling meditation on existence, memory, and the power of cinema to preserve both.
6. Club Zero
Strange things are going on at an exclusive prep school, where a new teacher (Mia Wasikowska) has been appointed to teach a “conscious eating” course to a group of teenagers. However, when the pupils fall under her spell, the “conscious” eating becomes disordered and things become quite culty.
Jessica Hausner’s mannered, deadpan film buries physical horror behind a satirical mask, employing smart notions about disordered eating — that it’s often a response to a lack of control rather than body size — to weave a story about groping for transcendence in a terrifying, confusing world. It’s not for everyone, thanks to a couple of gross-out moments and an overall unsettling vibe, but it shouldn’t be overlooked.
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7. How to Have Sex
Molly Manning’s title Walker’s debut feature is darkly ironic. How to Have Sex begins as a carefree party film about three English girls on vacation in Crete, but it takes a heartbreaking turn when a pleasurable meeting with a gorgeous guy turns into something much darker.
How to Have Sex is about the blurred limits of consent and how “good guys” manipulate them. However, Walker’s energetic directing and engaging performances, particularly from protagonist Mia McKenna-Bruce, avoid basic didacticism. How to Have Sex is a fantastically assured first feature from Walker, and it’s all too authentic and believable.
8. Indiana Jones and the Dial of Destiny
Harrison Ford’s famously daring archaeologist returns for a fifth and very certainly final chapter — after all, Ford will be 81 this summer. In a picture that feels like a sideways reflection on Hollywood’s age of IP recycling, a wonderfully funny plot anchored by Ford and his wisecracking goddaughter (played by Phoebe Waller-Bridge) examines ageing, the passage of time, and regret. There have been better Indiana Jones films, but it’s nice to see another adventure for the character.
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9. Killers of the Flower Moon
In the 1920s, Ernest Burkhardt (Leonardo DiCaprio) returns from war to an Oklahoma farm owned by his uncle William Hale (Robert De Niro), a sort of kingpin. Burkhardt marries Mollie (a superb Lily Gladstone) and settles among the Osage, who have become immensely wealthy as a result of the discovery of oil on the lands that the US government had driven them onto years before. But then the Osage people start dying one by one, and no one appears to know why.
Martin Scorsese adds his own spin to David Grann’s remarkable work of historical nonfiction in Killers of the Flower Moon: This is a film about how the bootstrapping American spirit lends itself to organized crime among the entrepreneurial, and it is also an uneasy self-reflective examination of turning people’s real-life trauma into entertainment. It’s breathtaking.
10. May December
Todd Haynes warns you early on that May-December is camp, but it’s the kind of camp that hides a sick heart. He largely bases the plot on the infamous Mary Kay Letourneau case; here, Julianne Moore plays Gracie Atherton, who went to jail after having intercourse with 12-year-old Joe Yoo at the pet store where she works, had his children, and married him.
They’re still married after 20 years, but their existence together — defined by Gracie’s determination that she never did anything wrong — takes an unusual turn when an actress (Natalie Portman) who will play Gracie in a movie comes to do research and becomes interested in Joe (Charles Melton). It’s a movie about shame, conscience, and exploitation, but Haynes’ wrapping it in camp trappings reminds us that this is tabloid material, and the lightness of touch makes it both enjoyable and unsettling.
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You have no idea where Monster is headed. Hirokazu Kore-eda’s poetic picture, ultimately about a Japanese pre-teen who feels alienated from the world around him, approaches the story from various angles, constructing a world in which the child’s mother, teacher, school principal, and pals are all clueless to some degree.
Kore-eda is a master of directing children’s performances, so it’s no surprise that Monster works best when no adults are around, with the youngsters immersed in their own world of fantasy, adventure, and passion. However, the world of grownups — their jargon, their mindless labels — creeps into children’s consciousness; Monster wonders if there is ever an escape.
12. The Mother of All Lies
Asmae El Moudir grew raised in Casablanca in a house full of secrets, for reasons she doesn’t fully understand. For example, why is there only one photo of her in her parent’s house, and she’s very sure it’s not even of her? El Moudir’s documentary The Mother of All Lies attempts to make sense of her family’s web of lies and myths, which is anchored by her grandmother.
To get to the true stories, she builds a miniature puppet-sized reproduction of her home neighbourhood with her father and coaxes family members into sharing the truth, but the reality is not easy to hear.
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