Author D W Mault

D W Mault is London based Filmmaker and critic.

Cannes
6.9
0

At first glance Park Chan-Wook’s ‘inspired’ by Sarah Waters Victorian set novel Fingersmith (Waters and Chan-Wook agreed on inspired rather and adapted because of the changes in the second half of the film) is an usual choice. Looking more closely at his previous work and it seems a snug fit, what with…

Cannes
6.8
0

Andrea Arnold returns to the Croisette for the third time in four films with an idiosyncratic slice of ersatz Americana that follows a band of magazine subscription sellers as they crisscross the American Midwest, leaving in their wake a path of material, physical and mental destruction.

Cannes
9.7
0

Who would called it, but Cannes 2016 is warming up to the year of outrageous comedy, what after Bruno Dumont’s outs himself as the heir apparent to Slap Stick legend status; now it’s the turn of German auteur Maren Ade with her 2h42m uncontrollably laugh out loud comedy of embarrassment that makes Curb Your Enthusiasm seem content and comfortable…

Cannes
6.5
1

Ken Loach returns to Cannes after being a tad hasty announcing his retirement from feature films after the premiere of his last film to play at Cannes: Jimmy’s Hall. I, Daniel Blake is a story that demands to brought to the attention of the wider world, a tale of injustice, snide cynical bureaucratic manslaughter …

Cannes
9.0
0

Again mining comedic gems that verge on crossing the void towards farce Bruno Dumont’s Ma Loute reappraised many of his troupes from earlier more inaccessible films in the Competition entry here on the Croisette. Again working with establishing actors alongside non-professionals he seems to hit on a …

Cannes
9.3
0

Audiences coming to Alain Guiraudie’s Cannes Competition entry Rester Vertical after his break out hit Stranger By the Lake (which played in the Un Certain Regard sidebar in 2013 and won best film of the section) are likely to be puzzled, perplexed and possibly peeved; long time supporters will likely …

Cannes
6.5
0

After the Coen Brother’s opened the Berlinale in February with Hail, Caesar! A film that gilded the Lilly over 1950 Hollywood and the meandering topics that surrounded that milieu; now it’s Woody Allen’s turn with Café Society, his mediocre tale of love set among the burgeoning Hollywood studio system of the 1930s.