Cannes Film Festival 2013: 17th May Reactions Part 2 (‘Miele’, ‘Like Father, Like Son’, ‘The Selfish Giant’)

Hirokazu Koreeda

Hirokazu Kore-eda

As promised, here’s the rest of the day’s Cannes reaction. More to come…


John Bleasdale, Cine-Vue

“Golino throws everything at Miele and the result is a stylish, but often overly-busy debut offering.”

Kevin Jagernauth, The Playlist

“Death, and the right to choose to die, will always inspire fierce debate and “Miele” doesn’t try to solve that argument. Instead, it quietly emphasizes that there can be a grace to passing away, no matter the circumstance.”

David Neary, Next Projection

“Showing adept skill behind the camera for a first-timer, Golino controls her cast excellently. Hungarian cinematographer Gergely Pohárnok frames his subjects splendidly, his camera following their faces as if armed with a missile guidance system.”


John Bleasdale, Cine-Vue

Miele: a debut from Italian director Valeria Golino. Well intentioned but over directed and ultimately flaccid

William Goss, MSN Movies

Miele: a bearable tearjerker about a suicide assistant who breaks her own rules about Not Caring. Lousy Weinstein remake inevitable.

Peter Howell, Toronto Star

MIELE: UCR angel of death drama twists with flair as brain & heart collide. Actor Valeria Golino impresses with directing debut.

Shaun Munro, Film School Rejects

Miele – 4.5/5. Haunting, humanist engagement w/ social taboos surrounding suicide propelled by virtuoso direction and lead turn

David Neary, Next Projection

Miele: Excellent drama about love and assisted suicide. Gorgeously shot and cannily scripted, its leads rebound beautifully off one another.

First awkward moment of as a fade to black at the end of Miele is followed by great applause, and then 5 more minutes of film.

Jonathan Romney, Screen Daily

Valeria Golino turns up trumps as director in MIELE – chilly, stylish but rather tender film about euthanasia…

Jasmine Trinca in MIELE possibly my favourite performance here so far – could watch her scowl for hours on end.


John Bleasdale, Cine-Vue

“Its remarkable premise works almost as a thought-experiment and Kore-eda’s latest serves as a welcome addition to a filmography that, along with 1998’s After Life, Still Walking (2008) and I Wish (2011), is both meditative and moving.”

Peter Bradshaw, The Guardian

“This is a sweet-natured, but essentially undemanding film from Kore-eda.”

Robbie Collin, Daily Telegraph

“Kore-eda has crafted a piercing, tender poem about the bittersweet ebb and flow of paternal love, and his status as Ozu’s heir becomes ever more assured.”

Jordan Cronk, Slant

“It’s one of the films great strengths that he’s able to take such a specific subject and render it relatable to such potentially broad audience, whatever their marital or generational status.”

Tim Grierson, Paste

“Like Father, Like Son is certainly interested in the nature-versus-nurture debate that’s always waging in the study of childrearing, but at its core the movie seems more invested in exploring how we foolishly project our own values and needs onto our children, wanting them to justify our existence and legitimize our worldview.”

Kevin Jagernauth, The Playlist

“Evoking naturalistic performances from everyone involved (the kids are a pure delight), and with a welcome dose of humor, along with the requisite humanity he’s known for, Kore-Eda Hirokazu’s film is a touchingly low key, a wholly charming study of the evolution of parenthood.”

Maggie Lee, Variety

“As usual, the director retains his controlled style even as he moves toward a more traditional narrative mode.”

Guy Lodge, Time Out London

“There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance. Moreover, the hoary contrast between the chilly white-collar family and the cheerier, less privileged brood is upward classism at its most patronising.”

David Neary, Next Projection

“A minor masterpiece from Japan’s most reliable living dramatist, Like Father, Like Son is relentless in its charm, beauty and gentle tragedy. The simply adorable child actors lift it to heights that no other filmmaker could have possibly achieved.”

Keith Uhlich, Time Out New York

“This is a relentlessly quiet character study that is photographed with Zen remove and scored metronomically to Bach and Beethoven, each scene clipped to the barest essentials (sometimes only a line of dialogue is spoken before the film steadily ambles along its muted course).”

Deborah Young, The Hollywood Reporter

“The film is a longish but well-edited two hours, held together by cheerful lighting and contrasting interiors that emphasize the great divide between the haves and have-nots in Japanese society.”


Ryland Aldrich, Twitch Film

LIKE FATHER, LIKE SON (Soshite Chichi ni Naru): another mature, emotionally poignant drama by Kore-eda & fascinating look at Jp soc.

Geoff Andrew, Sight & Sound

Kore-eda’s LIKE FATHER, LIKE SON superbly controlled tale of couples finding their sons were swapped at birth. Quietly affecting

Raffi Asdourian, The Film Stage

Like Father, Like Son is a heartfelt film that distills the essence of what it means to be a parent amidst a tragic situation.

John Bleasdale, Cine-Vue

Like Father Like Son was witty and touching and will appeal to Spielberg

Catherine Bray, Film4

Really liked Like Father Like Son. The rich-but-stifled, poor-but-full-of-joy thing isn’t that fresh a set-up but it got me emotionally.

Xan Brooks, The Guardian

Kore-eda’s Like Father, Like Son: a sweet-natured Prince & the Pauper tale. But lacks richness & texture of his last film, I Wish.

Robbie Collin, Daily Telegraph

Sustained applause and sniffles after Hirokazu Kore-eda’s glorious family drama Like Father, Like Son; best comp film so far

Adam Cook, Cinemezzo

LIKE FATHER LIKE SON is minor (still sweet) Koreeda but the children/parents theme should bewitch Spielberg

Jordan Cronk, Slant

LIKE FATHER, LIKE SON (H. Koreeda) There’s a danger in taking this man for granted. But this is shattering; impeccably acted. B+

Mike D’Angelo, The A.V. Club

Like Father, Like Son (Kore-eda): 42. Imagine a film abt parents who learn they were given the wrong baby 6 yrs earlier. This is that film.

Kenji Fujishima, In Review Online

LIKE FATHER, LIKE SON (2013, Kore-eda): Remember the warm, wise and patient Kore-eda of STILL WALKING? He’s back, baby!

Glenn Heath Jr., Press Play

LIKE FATHER, LIKE SON (A-): Lovely/patient melodrama about parental malaise and wisdom. Proves time is thicker than blood.

Eugene Hernandez, Filmlinc

4th movie on 1st Friday of is Kore-Eda’s LIKE FATHER, LIKE SON. Nice way to end the day w/ a tender, touching & well told story

Jake Howell, Movie City News

LIKE FATHER, LIKE SON: a special movie. Liked it a lot. Need to think and say hi to in the process.

Peter Howell, Toronto Star

LIKE FATHER, LIKE SON: Nature vs. nurture arguments compassionately explored in K. Hirozaku’s baby-swap drama. Palme potential.

Nick James, Sight & Sound

LIKE FATHER, LIKE SON has many exquisite moments while maybe labouring its points a little. Poignant to the max though

David Jenkins, Little White Lies

LIKE FATHER, LIKE SON (Kore-eda) Nah… it’s basically a catLOL movie, but with toddlers. Being a bad father is bad. Who knew?

Guy Lodge, Hit Fix

Will be stunned if LIKE FATHER, LIKE SON doesn’t win something major at Cannes. Spielberg’ll be all over it. Not a huge fan.

Shaun Munro, Film School Rejects

Like Father Like Son – 4/5. Uproariously funny, heartfelt dramedy is strong Palme contender w/ Spielberg heading jury. Wonderful

David Neary, Next Projection

In an embarrassing turn of events, my face has spontaneously leaked water all over itself.

Like Father, Like Son: Masterful tragicomedy about the blurred lines defining family. Sensitively and beautifully shot, with a superb cast.

As hoped, Like Father, Like Son has proved to be the film of Cannes for me thus far. 5/5 from me; first of the festival.

Jonathan Romney, Screen Daily

Kore-eda’s LIKE FATHER LIKE SON – wry comedy-drama about heredity and parenting. You can’t deny the mastery…

But it felt grindingly schematic by the end. Couldn’t he thinking what Edward Yang’s YI YI did with the wonderful aloneness of children…

Craig Skinner, Hey U Guys

LIKE FATHER, LIKE SON(A) The tragedy, humour & beauty that Koreeda finds in scrutinising the most simple of things is extraordinary. Sublime

Jason Solomons, The Observer

Kore-Eda’s LIke Father Like Son very sweet, very wise story from Ozu’s heir. Loved it. Reckon Spielberg will too.


Mark Adams, Screen Daily

“The tough atmosphere of the Bradford estates is impressively documented by Barnard, with the gentle but ominous hum of the electricity pylons adding a powerful sound effect to sit alongside the nicely shot vistas. The film is gently dramatic, strikingly moving and impressively memorable, and confirms Clio Barnard as a talent to watch.”

Peter Bradshaw, The Guardian

“This is a fine film, which cements Barnard’s growing reputation as one of Britain’s best film-makers.”

Robbie Collin, Daily Telegraph

“So hauntingly perfect is Barnard’s film, and so skin-pricklingly alive does it make you feel to watch it, that at first you can hardly believe the sum of what you have seen: the astonishingly strong performances from her two young, untutored leads; Barnard’s layered script; Mike Eley’s snow-crisp cinematography that makes the streets of Bradford shine.”

Guy Lodge, Variety

“Backed by an effectively spare score from Harry Escott that sometimes recalls his work on Steve McQueen’s “Shame,” d.p. Mike Eley’s compositions carefully play the dark, rolling landscape against the squat impositions of town planners. The relentless Yorkshire weather, meanwhile, is almost palpable in Barnard’s chosen palette of stormy blues and mossy greens.”

Neil Young, The Hollywood Reporter

“Forsaken opportunities and wasted resources, both human and otherwise, are the underlying themes of Barnard’s story, which relies for drama on the increasing hazardousness of Swifty and Arbor’s hunt for the near-ubiquitous precious metals.”


Geoff Andrew, Sight & Sound

Clio Barnard’s THE SELFISH GIANT is a very fine second feature: Oscar Wilde reimagined as gritty poetic realism. Great perfs too

Dave Calhoun, Time Out London

The Selfish Giant by is v good. Less original than the Arbor (if you’ve seen Loach, Dardennes, Arnold etc) but bracing, tender.

Jordan Cronk, Slant

THE SELFISH GIANT (C. Barnard): Typical ornery adolescent Brit film; none of THE ARBOR’S inventiveness. Good swearing though. C

Mike D’Angelo, The A.V. Club

The Selfish Giant (Barnard): 68. Had you shown this to me blind I’d have bet the farm it was Shane Meadows. Like SOMERS TOWN as tragedy.

Peter Debruge, Variety

Standing ovation for Clio Barnard’s stunning THE SELFISH GIANT lasted thru credits (such applause rare in Directors’ Fortnight at ).

Even without its final gut-wrenching tragedy, succeeds as a powerful tale of friendship amidst harsh conditions, from director of THE ARBOR.

William Goss, MSN Movies

The Selfish Giant: because I always wanted Millions to have the whimsy level of Tyrannosaur. Well-acted, to be sure, just… yeah.

Jamie Graham, Total Film

The Selfish Giant is a treasure. Infused with spirit of Loach & proud descendant of great British kitchen sink dramas of the 50s and 60s

Glenn Heath Jr., Press Play

THE SELFISH GIANT (C): Brit Miserablism, the pre-teen years. Plenty of tragedy & comeuppance, but lacks depth, resonance.

Peter Howell, Toronto Star

THE SELFISH GIANT: Tragedy of the underclass in C. Barnard’s arresting saga of kid wire thieves. The one that got away from

Nick James, Sight & Sound

Though it’s early days, so far THE SELFISH GIANT is the best film here

David Jenkins, Little White Lies

THE SELFISH GIANT(Barnard) If the Ozon was French Film, this is British Film. And not in a particularly good way. Boilerplate social realism

Matt Patches, Hollywood.com

Clio Barnard’s The Selfish Giant built buzz, but it didn’t hit me. Impoverished Brit drama lacked perspective, unlike The Arbor.

I think Barnard is extremely talented and The Selfish Giant is speckled with perfect choices. Think it’s a script thing.

Jimmy P. (Arnaud Desplechin) – IN COMPETITION
Grand Central (Rebecca Zlotowski) – UN CERTAIN REGARD
Bite the Dust (Taisia Igumentseva) – SPECIAL SCREENING
Bends (Flora Lau) – UN CERTAIN REGARD
Inside Llewyn Davis (Joel & Ethan Coen) – IN COMPETITION

Blue Ruin (Jeremy Saulnier) – DIRECTORS’ FORTNIGHT
The Dance of Reality (Alejandro Jodorowsky) – DIRECTORS’ FORTNIGHT
Jodorowsky’s Dune (Frank Pavich) – DIRECTORS’ FORTNIGHT
For Those in Peril (Paul Wright) – CRITICS’ WEEK
Ain’t Them Bodies Saints
(David Lowery)CRITICS’ WEEK


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