Briefly, “Nostalgia” is a slog to get through. It never really works. It’s clearly a personal film for Martone, his main protagonist returns to Naples after a 40 year absence. He visits his ill mother, rediscovers the places he knew, and the hidden codes of the city etc. It all falls flat. Some here believe Fremaux stole “Nostalgia” from Venice out of spite, taking away an Italian title from a well-known hometown director. But it’s not like Martone’s film is the only odd choice in this year’s competition. Arnaud Desplechin’s “Brother and Sister,” Valeri Bruno-Tedeschi’s “Les Amandiers” Saeed Roustaee’s “Leila’s Brothers,” and Felix Van Groeningen’s “The Eight Mountains” are also beguiling picks. Then again, there hasn’t necessarily been a title yet in the Un Certain Regard sidebar that made me think “Gee, this should have been in competition.” Maybe, Alexandru Belc’s “Metronom” — set in the ‘70s Romania, under Nicolae Ceaușescu‘s rule, it’s a brutal, but rewarding watch. I’m hearing good thing about Hlynur Pálmason‘s “Godland,” which I’ll be watching later today. In the Director’s Fortnight and Critics Week sidebars, Charlotte Wells’ “Aftersun,” and Owen Kline’s “Funny Pages” should have been included in UCR. Those are two of the stronger films I’ve seen here this year. Speaking of Director’s Fortnight, what looked like a great lineup on-paper turned out to be exactly what it was: Cannes competition rejects. Alice Wincour’s “Au Revoir Paris,” Lea Mysius’ “The Five Devils,” Pietro Marcello’s “Scarlet,” and Anna Rose Holmer’s “God’s Creatures” all turned out to be duds. Contribute Hire me
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