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Crimson staff writer

Mila Gauvin II

Latest Content

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Film

From Cannes: ‘Le Grand Bain’ (‘Sink or Swim’) Makes A Big, Chlorinated Splash

Part synchronized swimming training practice, part group therapy session, the group of aging, out of shape, and hopelessly dedicated men make an unexpectedly supportive and uproarious—if not unoriginal—party.

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Film

From Cannes: ‘Lazzaro Felice’ (‘Happy as Lazzaro’): A Sad, Mythological Tale

Rohrwacher’s fifth feature film is a testament to her directorial talent, her visually stunning work as mythical as the tale it depicts.

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Film

From Cannes: ‘Di Qiu Zui Hou De Ye Wan’ (‘Long Day’s Journey Into Night’) Scintillating In Its Obscurity

Bi Gan makes 3D film into a cinematic experience integral to the film’s second half, in a way that amplifies the first half’s slow-moving narrative—both in direction and in plot—a beautiful tale of a man in search of the ghost of his past.

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Arts

Cannes Par Jour: Day 1

After Caroline’s and my harrowing arrival to Cannes, we told ourselves, “Things can only go up from here!” Guess what? We were wrong.

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Film

From Cannes: Cooler Than Ice, ‘Fahrenheit 451’ Butchers Bradbury

During a time when the freedom of speech and the importance of facts are being threatened, it’s a shame that Bahrani delivers a watered-down version of a complex novel that demands so much more.

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Film

From Cannes: ‘Les Filles Du Soleil’ (‘Girls of the Sun’) A Heart-Rending Picture of Female Resistance and Resilience

At its heart, “Les Filles du Soleil” is a stunning, visceral recognition of the power of female leadership.

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Film

From Cannes: ‘The Image Book’ (‘Le Livre D’Image’) Too Psychedelic, Not Enough Substance

The result is a film whose statement gets lost in the mix, expressed in too fragmented a way to pack an effective punch.

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Arts

From Cannes: ‘Sextape’ Would Have Been Better Off As an Actual Sex Tape

By shirking away the potentially moralizing and prescriptive tone the movie could have taken, Desrosières goes too far and instead turns sexual assault into the punchline of a tasteless joke of a movie.

Handmaid's Tale: Unwomen
Arts

‘The Handmaid’s Tale’: Emily, from College Professor to One of the ‘Unwomen’

We finally get to see who Emily was before June met her, and trace the origins of her lingering rebelliousness back to her days as a college biology professor seeking tenure.

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Film

From Cannes: 'Jiang Hu Er Nv' (‘Ash Is Purest White’) A Transcendent, Kaleidoscopic Love Story

“How much love can be repeated? How many people are worth waiting for?” croons an amateur singer, words that echo throughout Jia Zhangke’s “Ash Is the Purest White.” As it turns out, not that many—if any at all—at least for Qiao.

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Film

From Cannes: ‘Leto,’ a ‘Summer’ That Never Ends

In part over-stylized mini-rock musical, and in others, cinematic manifestation of the music at the heart of the movie, “Summer” toes the line between genuine and overambitious.

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Film

From Cannes: ‘Pájaros de Verano’ (‘Birds of Passage’) Soar Over the Deserts of Columbia

In “Birds of Passage,” Guerra and Gallego create a Shakespearean play set in ’70s, indigenous Columbia with expert pacing, understated but effective acting, and an eye for exquisite cinematography.

Cannes 2018 promotional poster

Cannes Film Festival 2018

The Harvard Crimson sends two writers—Mila Gauvin II '19 and Caroline A. Tsai '20—to France to cover the 71st annual Cannes Film Festival.

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Film

From Cannes: Democracy Dies in ‘Donbass’

Loznitsa’s vignettes, exaggerated as they are, appropriate the farce of political decline, proving the power of satire to weaponize corruption in its own, brutal way.

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Atlanta: Season 2

The Harvard Crimson reviews "Atlanta," on FX, created by Donald Glover.

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