It’s not only because of its similar time frame that Boris Lojkine’s hurtling, headlong social-issues drama “The Story of Souleymane” recalls “Two Days, One Night” by the Dardenne brothers. Lojkine’s film, which was awarded the jury prize and a well-deserved best actor award in the Un Certain Regard competition in Cannes, is similarly invested in its electrifying lead — non-professional Abou Sangare, making an unforgettably persuasive and poignant debut — and similarly effective in maintaining a level of urgency and high-stakes personal peril that few genre thrillers can muster. If the hero’s dire situation is a ticking clock, Lojkine’s intelligent and empathetic film places us right alongside him, with each cog of circumstance and each gear of good fortune grinding against him at every turn.
Souleymane (Sangare) is a recent arrival in Paris from Guinea, who sleeps in homeless shelters at night and works as a delivery...
Souleymane (Sangare) is a recent arrival in Paris from Guinea, who sleeps in homeless shelters at night and works as a delivery...
- 5/25/2024
- by Jessica Kiang
- Variety Film + TV
Ever since they were granted essential worker status during the pandemic, food deliverers on bikes have become a steady fixture of the contemporary urban landscape. And yet, most us only interact with them for a few seconds at a time, grabbing the box of pizza or bag of food, saying thank you (if we’re polite) and quickly shutting the door.
What happens after that is the subject of director Boris Lojkine’s compelling third feature, The Story of Souleymane (L’Histoire de Souleymane), a realistic and very humanistic look at one immigrant’s grueling daily life in Paris, where he struggles to make a living and obtain legal status.
Another movie immediately comes to mind here, which is Vittorio De Sica’s neorealist classic, Bicycle Thieves. Both films are structured as suspenseful, ticking-clock dramas where men navigate a ruthless city as they ride around on two wheels, doing everything they can to get by.
What happens after that is the subject of director Boris Lojkine’s compelling third feature, The Story of Souleymane (L’Histoire de Souleymane), a realistic and very humanistic look at one immigrant’s grueling daily life in Paris, where he struggles to make a living and obtain legal status.
Another movie immediately comes to mind here, which is Vittorio De Sica’s neorealist classic, Bicycle Thieves. Both films are structured as suspenseful, ticking-clock dramas where men navigate a ruthless city as they ride around on two wheels, doing everything they can to get by.
- 5/21/2024
- by Jordan Mintzer
- The Hollywood Reporter - Movie News
Mike Mills’ A24 film C’mon C’mon triumphed at the 2021 EnergaCamerimage Film Festival, celebrating the art of cinematography—claiming its high honor, the Golden Frog, along with its Audience Award.
Cinematographer Robbie Ryan’s Golden Frog win gives him new momentum as a 2022 Oscar contender, on the heels of his first nomination in 2019 for his work on Yorgos Lanthimos’ The Favourite. While only handful of past winners since the festival’s founding in 1993 have gone on to secure the Best Cinematography Oscar, 12 of 30 have nabbed nominations. And over the last eight years, 5 winners have gone on to nominations—most recently, Joshua James Richards with Nomadland, and Lawrence Sher with Joker.
In Mills’ film, which opened in theaters across North America yesterday, Joaquin Phoenix plays Johnny, a radio journalist whose latest project has him interviewing children across the U.S. about the state of affairs in the world. Johnny forges a tenuous...
Cinematographer Robbie Ryan’s Golden Frog win gives him new momentum as a 2022 Oscar contender, on the heels of his first nomination in 2019 for his work on Yorgos Lanthimos’ The Favourite. While only handful of past winners since the festival’s founding in 1993 have gone on to secure the Best Cinematography Oscar, 12 of 30 have nabbed nominations. And over the last eight years, 5 winners have gone on to nominations—most recently, Joshua James Richards with Nomadland, and Lawrence Sher with Joker.
In Mills’ film, which opened in theaters across North America yesterday, Joaquin Phoenix plays Johnny, a radio journalist whose latest project has him interviewing children across the U.S. about the state of affairs in the world. Johnny forges a tenuous...
- 11/20/2021
- by Matt Grobar
- Deadline Film + TV
Life on the road and fantasy worlds held sway at the 29th edition of the EnergaCamerimage International Film Festival on Saturday, winning big after a week of scaled down but enthusiastic industry events, seminars and screenings celebrating cinematography.
“C’mon C’mon,” shot by Robbie Ryan and directed by Mike Mills, won this year’s Golden Frog. The film, which tells the story of a radio journalist driving between American cities with his nine-year-old nephew Jesse, enchanted jurors with its black-and-white imagery, one of several top contenders in monochrome.
Ryan, praised for his “precise and humble eye” and “cinema that touches the soul,” accepted via video from a film set in Hungary, calling “C’mon C’mon” a “small film,” made just prior to the Covid pandemic by a crew “traveling around like a circus.”
Buzz built early on during the fest for Joel Coen’s “The Tragedy of Macbeth,” shot by Bruno Delbonnel,...
“C’mon C’mon,” shot by Robbie Ryan and directed by Mike Mills, won this year’s Golden Frog. The film, which tells the story of a radio journalist driving between American cities with his nine-year-old nephew Jesse, enchanted jurors with its black-and-white imagery, one of several top contenders in monochrome.
Ryan, praised for his “precise and humble eye” and “cinema that touches the soul,” accepted via video from a film set in Hungary, calling “C’mon C’mon” a “small film,” made just prior to the Covid pandemic by a crew “traveling around like a circus.”
Buzz built early on during the fest for Joel Coen’s “The Tragedy of Macbeth,” shot by Bruno Delbonnel,...
- 11/20/2021
- by Will Tizard
- Variety Film + TV
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