By Alexandra Zawia Sono Sion’s cinema is marked by disproportion. Taking great pleasure in busting through form and conventions, his films are often regarded as being “too” everything: too loud, too violent, too implausible, etc. Why Don’t You Play in Hell? is all that, and much more. Its entertainment value defies any rational analysis, and…

The Discomforts of Home: Far from Afghanistan (John Gianvito, Travis Wilkerson, Jon Jost, Minda Martin, Soon-Mi Yoo, USA)—Wavelengths By Aaron Cutler and Mariana Shellard When Chris Marker gathered his Nouvelle Vague and Left Bank colleagues to make the omnibus film Loin du Viêtnam in 1967, nearly half a million American troops were stationed in Vietnam…

By Christoph Huber Programmed in typical Cannes fashion as almost overlapping screenings, the double feature consisting of the press show of Miike Takashi’s competition entry Hara-Kiri: Death of a Samurai and the sole Quinzaine “special screening” of Sono Sion’s Guilty of Romance made for an instructive lesson in festival reception. On the most superficial level,…