“Toni Erdmann,” a German comedy from newcomer Maren Ade, has to be one of the early favorites in the annual race for the Palme d’Or at the Cannes Film Festival.
It screened Friday night, and even at 2 hours and 42 minutes, it constantly kept engaging the audience. Part of the reason: It’s a woman’s film, directed by a woman, with all sorts of nuances about the corporate life of a seemingly money-grubbing capitalist, Ines, played with much depth by Sandra Huller.
She exudes the corporate mentality, staying on the phone constantly, ignoring other people even at family gatherings, obsessing over how to get ahead, putting work above all else. She wears the same old black pantsuit, and does everything she can to fit in with her corporation team. But she’s trying a bit too hard, and the casual sexism that she faces is demoralizing.
But Ines’ biggest problem isn’t sexism in the workplace. It’s her dad, Toni (Peter Simonischek), who’s a practical joker of the highest order. And when he sees what’s happening to his daughter, he thinks she needs to lighten up, to make more time for her private life, and to laugh a little. So he shows up unexpectedly at her Bucharest office, where she’s trying to negotiate a corporate downsizing.
Any attempt to describe the father’s antics will sound cliched, like the bucktooth mouthpiece he keeps in his front pocket. Yet there’s genuine pathos in his attempts to reach his daughter. And she’s amazed that he keeps showing up in disguises wherever she goes.
Two scenes in particular are laugh-out-loud: When he father forces her to sing a cheesy pop song before a crowd, and when she melts down and decides to through a birthday party where she and all the guests must be naked. It’s absolutely nuts.
Many more competition films have yet to screen, and there are always surprises. Jim Jarmusch’s “Paterson” sounds promising. So does “Loving” from Austin director Jeff Nichols. And then there’s the enfant terrible Nicolas Winding Refn, who’ll be screening “Neon Demon,” and French-Canadian whiz kid Xavier Dolan, who’ll be showing “It’s Only the End of the World.”
In the Un Certain Regard sidebar, where films are eligible for the Palme d’Or, there’s still another early standout. It’s “The Student” from Russia’s Krill Serebrennikov. Once again, he’s a newcomer to Cannes, but his movie packs a wallop.
It deals with a teenage Russian boy who abruptly decides to obsess over the Bible and memorize various passages. He begins quoting these passages to his befuddled teachers, and he warns that the young women in swim class should be wearing one-piece swimsuits rather than sexually proactive bikinis, which he finds sinful. He continues to battle his science teacher over evolution and sex education, and he starts a protracted battle with her that borders on dangerous.
She’s just as adamant that the student will not sidetrack her progressive teaching methods, and it’s pretty much all-out war.
As the student, Peter Skvortsov is full of rage, spouting off verses that he has memorized. But there’s a big difference between memorizing the Bible and comprehending its meaning, and he’s falling far short in the latter category.
As the teacher, Victoria Isakova delivers another fine performance, showing a stubbornness that matches her student’s. And you end up with a preachy Bible student and a strident science teacher amid a movie that’s remarkably not didactic.
But make no mistake. There’s a clear undercurrent about the dangers of fanaticism, and that’s a timely message for a festival that’s facing heightened security because of perceived threats from Islamic fundamentalists in France.
One other movie deserves a shout-out. It’s Park Chan-Wook’s “Mademoiselle,” or “The Handmaiden.”
The Korean film takes us back to the 1930s, during the period of Japanese occupation, and it deals with a Japanese heiress, Hideko (Kim Min-Hee), who has recently employed the services of a handmaiden, Sookee (Kim Tae-Ri).
Sookee plays all dumb, and Hideko plays like she’s sexually innocent. But neither woman is what she seems. And in the middle of the action is a fake count (Ha Jung-Woo), who is wooing Hideko and seeking some way to get all of her money.
The movie unfolds in three acts, and the cinematography is drop-dead gorgeous, as is the set design. There’s a bit of overlap in the storytelling, as we see the events from different perspectives, and there are far more twists and turns than expected.
I suspect this has the potential to be a cult arthouse favorite. But the sexuality and nudity are strong elements, and its distribution will probably be limited. If it opens in the States later this year, it’s well worth your time.
Park’s most famous movie is another cult favorite, “Oldboy,” which played in Cannes in 2003.