Cannes Film Festival Wrap Up with Davey Parks and Nic Patrick!

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(01:11):
Bonjour, I'm Deity Parks.
Bonjour, I'm Nick Patrick.
And this is the show department.
And 2025 editions.
So exciting.
Nick, this is our first podcast that we've done.
This is I know.
We haven't crossed paths yet.
But we've gotten to see a screen so far here at the festival.
I guess we could go kind of chronologically and just kind of hit them that way.

(01:32):
That works with me.
Yeah, well, it was your first screening of the festival.
The first screening that I saw was right on it.
So it is a movie from the Netherlands and it follows a FATCHER.
And he's a strange, stremous family is a weird kind of relationship.
And it's not a typical, you know, I feel like European films don't follow this, the three acts,

(01:57):
kind of Hollywood structure, right?
So it's more methodical and more like they hold on a shot for five minutes.
And you start to like become entranced and when you're jet lagged, you start to fall asleep.
But you know, but it was it was a beautiful film.
I don't know what you've heard of it or if you.
I've heard that word hypnotic used quite a bit to me.

(02:19):
Yes.
I think that's a big thing that I really enjoy about Cannes.
A lot of them in these here are very big Hollywood productions,
but oftentimes you encounter movies that are very different and sort of experimental like that.
So I think that's sort of what's kind of made me interested in it.
I haven't seen it yet, but I've heard quite a bit about the hypnotic effect.

(02:40):
And what's great about being here is that like you you will get to see films that may or may not ever go to theater.
Then you will probably never see it, especially in Las Vegas.
Like we hardly get in Las Vegas.
So it's even though like there are certain points in that movie, I was like, oh, I'm checked out, you know,
it's a very beautiful film.

(03:02):
I'm like, I'm so grateful that I was able to see it and support filmmakers.
It's fantastic.
Yeah, but that was my first watch.
I was actually supposed to see a different movie before that.
But my phone died in line.
So no, that was Enzo, I believe.
Yeah, that was.
Yeah, so Enzo also missed me.

(03:24):
Yeah, just.
Yeah.
My first screening of the festival so far was a French film called Adam's sake, sort of a medical procedural drama.
It recounts the story over the course of one night in a pediatric ward.
I believe where in a four-year-old boy has been brought in with severe malnutrition.

(03:47):
And the French court has essentially ruled that his mother has been neglecting him.
And because the boy refuses to be without her present, she's allowed visitation rights for simple.
And the film is absolutely incredible.
I wish I were working the two main actresses names because they both just deliver like this very engaging story.

(04:08):
And beyond just being like a really well constructed medical procedural.
It was really interesting.
The camera work.
It was a lot of like these long shots that would follow her as they were moving throughout the pediatric ward.
And what I found really interesting about it was this sort of implication that there are all these different stories going on inside this ward.

(04:33):
And what we're seeing is just one story upon one night in one hospital.
I always like when movies kind of give us a sense of, you know, stoked.
And even if it's like very narrow.
And it was just really, really great. It was a good first movie for the festival.
It really set the bar pretty high, I'll say.
But it's something I definitely recommend checking out.

(04:57):
Should I have a complete sense?
That's, that's what I find so impressive about a lot of smaller budget films is when they're able to tell you that there is a larger world.
There's there's more messed up things going on. There's more like, yeah, I just I think that's that is a sign of a good director or a good production designer.

(05:18):
And a good writer.
I'm glad you got the idea of like small budgets because what she'll see pretty frequently here is filmmakers working with what they have.
Yeah.
And it's really hard to book is sometimes the lowest budget movies that you'll see will have very compelling stories will be very.
And just movies that you were thinking about after you leave the theater and some of the collared movies that from here here just don't reach that level.

(05:47):
So it's really, I would say it demonstrates an even playing field regardless of budget.
Just in terms of what filmmakers can work with, which sort of brings me to the first movie that we watched together, which was.
You want to say together?
Which all things considered how to do say is not a comedy.

(06:09):
I think both of us were like had totally different expectations.
Because I when I'm thinking it was going to be a sort of intense psychological horror film.
And I thought it was also going to be horror before like body horror.
Like I was a monster.
And to be honest, I will attribute that to the fact that I think the film has an incorrect description in the program.

(06:35):
It mentions an obese brother who is not present in the film.
Yeah.
Yeah.
That was not guaranteed in the very good piece about that.
But I guess you could sort of call it this found family drama.
That's a nice oracle drama sat in Chile during the 1980s.

(06:58):
It's kind of hard to talk about without giving too much away.
It's, it's, it's, yeah, it's the found family aspect.
There's like a coming of age.
Yeah.
Aspect to it.
Almost like.
Yeah.
Well, man, I, it's hard to say like there's almost a little bit of exploring sexuality.
Yeah.

(07:19):
And with, with a young, young character who is the lead.
That was, that was one thing I didn't know.
I didn't know that there was such a young lead.
Yeah.
You know, it's very, just, it's really powerful.
It follows primarily this family of trans women who live in a small mining town in Chile.
As a unnamed plague hasn't effecting the residents of the town.

(07:45):
And the residents have sort of been convinced that the plague is spreading through the looks of gay and trans people in the town.
And yeah, I just, it was really affecting.
I was crying free.
It's hard for most of it.
There's one shot in particular towards the end of the film that had me so emotionally shaken that I was, I've been thinking about it ever since.

(08:14):
Yeah.
Just really, really beautiful filmmaking by a really young director, which either was also part of that.
Yeah.
So we were at the premiere of this and they all walked down and they, they went up on stage and they presented the film before it started playing.
And, you know, we saw the cast together and then they had the, the mic to the director and I was like, whoa.

(08:38):
And honestly, I honestly thought he was like 22.
Yeah.
But he said he was 29 and he's very young.
And it's just so massively impressive.
With C like, yeah.
Such a young person, you know, have such a massive ensemble of great, great characters.
Yeah.
Honestly, like actors that were just delivering some of the funniest performances, those heartbreaking performances.

(09:05):
Like, it's, it just could whiplash from tragic to re-envi-ing my house.
I was, I was mainly surprised by how young he was after watching the movie.
It feels like it was made, but it feels like a very mature director, like something they'd make like late in their career.
Yes.
But yeah, and it was very sort of experimental in a way.

(09:28):
They were, like, you would throw things at you and kind of ask you to make an app away, which I really liked.
But yeah, overall, I would say Stephanie puts the top of my fuzz a little to shame.
It's not any competition.
I think it's in competition for camera or or, they just make it.
It's in, it's in our gut.
Oh, yeah.
It's in our gut, yeah.
But a lot of the, the films that we've seen have been out of competition that, like, have been good.

(09:54):
We've seen a lot of the ones that we've seen in competition.
I've just been like, that was fine.
Yeah.
You know, that was good.
Yeah, I think the other uncertain regard one that's really stuck up to a 70-boat scene was Charlie Pullinger's the plate.
Which I think I can definitively say so far has been my favorite.

(10:15):
Yeah.
Yeah.
I am still holding out for something in these last few days to really like take my breath away like that movie did, but.
The plague, the plague follows a young boy at a watercolour camp over the summer and it's all these 12-year-old 13-year-old boys and they're loud and going through puberty.

(10:38):
And there's a plague going around, but it's basically just puberty.
Like it's just pimples, like one of the kids has a rash and we can't even reach an answer.
And they're telling these stories about how it slowly makes you lose your mind and you go crazy, but.

(11:00):
And it's directed in portrayal, real body horror type film, but it never goes that far.
But it's not in a bad way and it shouldn't go that far.
But it's, I just had never seen like that theme of puberty and coming up against you, creating that way.
And it's a very sort of sympathetic, which I really enjoy.

(11:25):
And I think something that really affected me was how for everyone who saw it up premiered in vote, a specific memory from their adolescence that they either felt some kind of guilt about or was like a memory that like, you know, kind of made people feel a little bad.
And as I was leaving the theater from the premiere, I was hearing all these different discussions about.

(11:49):
Yeah, you know, I remember this thing that maybe I did in the middle school that I really remember, or I remember this kid used to get picked on and maybe I didn't do or say anything to help them out or stood up for him.
And it was really fascinating how all of these different strangers, all of these different countries around the world saw this movie and all had the same feeling in which I thought was really interesting.

(12:12):
I think this film has my favorite performances. I've seen so far festival by some really incredible child actor.
I would say about half of those kids are going to be stars.
Yeah, like there was just no doubt about it.
Like they are amazing.
They have such nuances with their, their mannerisms, like, especially like we were talking about this earlier, but the lead.

(12:35):
And he would often like, the character would walk into a group scenario and they'd all be, you know, spin jokes at each other and a joke would be spat at him.
And he would like, take a second to like really psychologically think about what's the best answer to this joke, because if I say the wrong thing, they're not going to let me be part of the friend group.

(12:56):
And, you know, they might make fun of me like, and you just go back and you think about your own experience and you're like, oh, I did the exact same thing.
And I think about like, films like Super Bad, right?
They feast on nostalgia.
And they play it more politically.
This film does something similar, but it feasts on guilt, like how you said earlier.

(13:21):
And it's just so interesting.
And it's something that is a really great combination of acting and writing, that kind of built up what you're talking about is frequently see this character be put in a position where he.
There's sort of this kinetic movement of like a joke is thrown at him.
And you see him sort of in real time figure out how to deflect that joke on to someone else.

(13:44):
So she's not sort of the, yeah, the center of humility in this situation, which I.
But yeah, I think it's been my favorite so far and I really forward to it's a release in America. I think it's been it's a movie releases.
Yeah, it's yeah, it's movie.
It has it which movie is just growing.
Yeah, it's very so.

(14:05):
Yeah, it's so cool.
And I actually just heard last night that their box is starting their own streaming service, probably to take up that vacuum that movie is going to leave when they become a massive distribution.
Yeah, distribution company, which is very, it's it's congrats that I want to say.
So with those films being in unsecured bar and I want to talk a little bit about the news that are in competition.

(14:29):
Let's do it.
So while it's your first in competition.
My first in competition film was dossier one third set.
And dossier one three seven follows is based on true story of the riots in France in 2019, I believe.
And it's between the yellow vest movement and the French company.

(14:52):
No, people in France protest a lot they demonstrate a lot, but these were some of the worst riots that they had in the past few decades.
People were killed.
You know, that they heard injured.
And it's a film about police brutality.
It follows this woman who's part of the police force, but she's doing internal investigations on police officers.

(15:23):
So it's kind of this thing where like she's part of the police, but she's working against the police.
So you kind of see the dual like she has colleagues that she's very close with.
And they have this distaste for her now and she has people that are outside the police force like real innocent people that she cares about that are trying to get her to fight for them.

(15:46):
But she still has this, this, you know, bar with the police force.
So it's, it's, it's this constant fight.
And, and yeah, it's just a very like straightforward like drama.
And then you know, mystery to it or nothing.
Very procedural.
Very procedural.
And I think that's what like turned me off about it.

(16:08):
Yeah.
Being a can I, I'm expecting something more bold and risky.
And especially something for like an in competition film.
Yeah.
Like you see like a Nora or the substance like they're bold and crazy.
There's something that sets it apart.
Yeah.
And dossiers like I watch this on Netflix and be like, awesome.

(16:29):
And I think that's the way it's going to be.

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(21:10):
But it doesn't have particularly anything new or interesting to say about where we're at as a country besides sort of pointing out the general ridiculousness of it all.
And I don't need a movie to really do that for me, especially, you know, it's so recent to like those events.
Like two weeks where it's like we're making a movie about COVID and like lives matter.
And there's a lot of sequences where people are masked, centered in protests.

(21:32):
And I just the whole time I felt simultaneously.
So like I'd roll my eyes or I was like, yeah, like I remember all of this.
And I also just remember being like, but why now?
Like it just it might it might be a thing where like we're at a point where we need new objective eyes.
Yeah, on that period of time to where I don't think we're ready to start making movies about COVID or about like just like the big the landmark things like Trump or stuff like that.

(22:02):
I think that's stuff that we need new perspectives on 10, 20 years down the line sort of comparable like I think the first movies about 9/11 started coming out around the mid 2000s.
And a lot of them weren't that good. They felt like they were very cash-rabby.
I don't think it was until like United 93 came out where people were starting to think like, okay, now we're sort of making movies that have some kind of level of quality to them.

(22:30):
Eddington just kind of reminded me of that where I was like, okay, yeah, we're talking about the COVID.
We haven't really like as a society learn anything beyond what we have earned then, which is a whole lot of people don't like to be told that they don't like to wear masks.
And it, yeah, I just felt very loose and very disjointed in a way that I was very disappointed by.
I think a lot of people will enjoy how chaotic it is and how frantic it all is.

(22:56):
But for me, it just works.
Yeah.
Well, I'll have to see. I don't know if I'll catch it here, but I'll just catch it when I see this thing.
Yeah, so, but yeah, I'm trying to think of what my, what are, oh, I saw a newville Vogue.
Oh, yeah, the other kind of big.
Yes, that was another in competition film and I got to go to the premiere for that.

(23:17):
So surreal seeing link later and Zoe, I'm not saying last same Deutsch touch.
Something.
But, uh, newville Vogue is link later is kind of just, I know hangout movie, but it's, it's a biopic in a way and it's, it's super fun.
It's about Jean Le Goudard making breathless.

(23:41):
So it follows the 20 days where Jean Le Goudard, you know, it's approval to make this movie and all the way up until editing it, you know, and doing the jump cuts and all that.
And it's edited in such a fun way.
It doesn't go as far as breathless where you have the jump cuts and stuff, but it's very quick.

(24:04):
It's super quick. You don't stand the same too long. It's like, little bit of dialogue, funny moment, boom, we're moving on.
And I really respect that about it.
I think the thing that is a little off about the film is, I saw a great letter of Oxford.
It's about two thirds into the film. You'd halfway through the film.

(24:26):
You quickly realize, oh, link later is going to take us through all 20 days of Jean Le Goudard's production.
And you're just like, come on.
Like it's the same, it's the same bit every single day where like, Jean Le Goudard is like, all right, roll camera.
Go action. Cut. All right. That's a wrap.

(24:48):
And it's like, he just does that every day where he shoots like one take, one scene, and then you move on to the next day.
And everybody's frustrated with them. He's so glad he's looking at his little notebook and he's thinking, this sunglasses on.
And it's, it's, you get, it's a little repetitive.
But the problem is, like, later such a good director, that every single shot is like the most beautifully composed shot.

(25:15):
And the blocking is amazing. Like the cinematography is black and white, shot on film.
And it's so just high contrast. Beautiful. Just gorgeous, gorgeous movie.
I afterwards, like, you know, I watched the link later walked down the carpet and stuff like that.
And then I went to Tarantino's hand and Tarantino was like totally glazing him up afterwards. Like, but I left that movie and I was like, that was really fun.

(25:45):
But I think I, I think I want to watch Breathless. Yeah.
You know, I don't think that's a film that I'm going to come back and like rewatch and have a good time with like basic abuse or, you know, his other films.
It's just, it's like a, hey, Breathless is really good. Yeah.
Yeah. You know, look at all these cool things about Breathless. So that's, that's all I got.

(26:06):
Yeah.
Which is, it's not bad. But that's, you know, yeah.
So the last movie I've seen in competition was a secret agent, starring Mike Ramora.
It is a Brazilian film.
Really fun movie.
Absolutely. Right. With so much color and humor. It's sort of a dense political thriller.

(26:32):
That would benefit from a bit of like historical context about the Brazilian dictatorship in the 1970s.
It was sort of heralded as like the sibling spiritual seafloor set I'm still here.
But it would not be more different than that.

(26:54):
Yeah. Yeah.
Like I've seen a lot of comparisons between the two just because I think it was the period. Yeah.
It's their both time.
We're doing like a set of 70s that are political kind of in nature.
But absolutely cannot be more different and so glad for it.
Awesome hours, wasn't it?
You could have shown up in that movie at one point in a minute completely.
We're not outside of the wrong possibility. It is pretty grounded.

(27:20):
Like if I described the plot, it would sound like a lot of non-Sept-like Wagner Morris of patent researcher who is like being prosecuted by the Brazilian government has to hide out in a hotel for refugees.
And is essentially waiting for his fake passport to come in.
And it goes back and forth between narrative quite a bit in a way that's really interesting where I would say for the first half hour of the movie, I had no idea what was happening.

(27:50):
But I was just like on board because it was so funny.
It was so beautiful.
And about 40 minutes in the movie, things start to come together and you're starting to be, okay, this person's here for that.
They're following him. This guy doesn't like this guy.
And by the end of the movie, it all just like sluts together really perfectly in a way that I thought was really fascinating.
There is a sequence of about 40 minutes into the movie that takes such a hard left turn in terms of tone.

(28:20):
But it is so just out there.
It really feels like the director was like, okay, if you fall asleep, I'm going to do this.
Just to wake up. Yeah. It is so brazen and bizarre and I loved it so much.
That's all I can say about it without giving anything.
But it's really, really a fun movie. I'd say I would totally recommend to check it out.

(28:47):
It really, really want to go to Brazil.
Everything there is just so beautiful and the people there, they're just having the best time.
And the best time to set during Cardi Ball, and what was really fun was the casting crew rather than pull up in the beautiful black BMW's can provides for them everywhere to.
You can turn around if I'm seeing a black BMW.

(29:09):
There is got to be a 150 black BMW. Rather than take them as they showed up in a Cardi Ball parade, which was really fun.
So as they were walking up the Cardi, they all had like polar power and fighting on them.
Yeah, really nice taxes and stuff.
But yeah, I would say as far as thumbs in competition go, the secret is, I think it was obviously.

(29:33):
We still have a lot of films to go watching.
Also, not to talk you, but you also saw more rush.
I didn't see the goal. That was my first film that I saw.
That was the first film I saw. That was honestly so, it just felt right for that to be the first film that I ever see as my first can.

(29:54):
That was the first time, and I was in the Lepusit Theatre. It was just for just experience.
And I had never seen it.
And it's just, yeah, one more, one more, one more, one more, can you say it's just perfect filming.
I think it's like a ball rush that people have inside in the last.

(30:16):
Yeah, yeah, yeah, yeah, it's like a bit of a first or a, like, it's in every textbook.
It's just perfect visual storytelling and great slapstick comedy.
What are you looking forward to in pretty much all this?
Well, tonight we're going to go to the premiere of Alpha.
I'm sure we'll be something.
That's a good thing.
I'm really excited for that. I really want to see Pilling, which is a same director who did Baby Girl.

(30:44):
It's just another best up or BDSM, submissive dominant type movie.
This one's a queer film.
So I'm kind of, that's a differentch itself from Baby Girl, looking forward to that.
I'm not a virgin, Tara Stinkinson's, the real, really good review, so far.

(31:05):
Yes, I know.
And I'm excited.
So I'm seeing that today.
Sorry, that just reminded me.
I need to bring this up for the podcast, but Charlie X X was in the screen.
But like Charlie X X was that you were screening of the play.
So, yeah, very cool.
It's, it's, she's not, I think she was at the secret agent too.
I think she's playing it very well.
She's, yeah, she's a rounded disguise.

(31:27):
I heard of my story last night. She was, she DJed for an after party.
And I guess it was such a massive party that even the white load of stars couldn't get in.
That's so, they were stuck outside the party that they couldn't even get.
It was hilarious. I, but it was an after party for one of the, I can't remember.

(31:48):
What are you looking forward to saying you're here for a few more days?
Alpha is my biggest, the biggest thing I'm excited for.
I'm excited to see what I'm going to do.

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