Usually, the opening night of the Cannes Film Festival is a glamorous celebration of cinema. Director Michel Hazanavicius has very different expectations for “Final Cut,” which kicks off the 75th edition this week.
“I wouldn’t be surprised if some people whistle or boo after 20 minutes,” he told IndieWire over Zoom from Paris, and grinned. “I would be very happy if somebody did that.”
That’s because “Final Cut” isn’t an obvious crowdpleaser — at least not at first. An adaptation of the 2017 Japanese comedy “One Cut of the Dead,” the movie borrows the format of Shin’ichiro Ueda’s original by opening with a half-hour zombie B-movie all shot in a single long take. A very obviously bad long take. And then, it becomes…something else.
It would be a spoiler to reveal the full scope of both “One Cut of the Dead” and “Final Cut,” but the bulk...
“I wouldn’t be surprised if some people whistle or boo after 20 minutes,” he told IndieWire over Zoom from Paris, and grinned. “I would be very happy if somebody did that.”
That’s because “Final Cut” isn’t an obvious crowdpleaser — at least not at first. An adaptation of the 2017 Japanese comedy “One Cut of the Dead,” the movie borrows the format of Shin’ichiro Ueda’s original by opening with a half-hour zombie B-movie all shot in a single long take. A very obviously bad long take. And then, it becomes…something else.
It would be a spoiler to reveal the full scope of both “One Cut of the Dead” and “Final Cut,” but the bulk...
- 5/17/2022
- by Eric Kohn
- Indiewire
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