This year's Un Certain Regard winner at Cannes confirms the Austrian director's formidable formal control and imagination, and should be her most widely distributed work to date.
By Guy Lodge
Plus IconGuy Lodge
Film Critic
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Courtesy of Cannes Film Festival Everyone who has ever experienced serious grief knows the strange, unsettling things it can do to time: stretching it or compressing it by turns, consigning some passages of it to a black hole of memory, or sometimes just suspending it entirely. Pretty much all these possible stages and cruel temporal tricks of the mind are felt in Sandra Wollner‘s shattered, piercing family study “Everytime,” until the present loops back on the past entirely, and which (or whose) reality we’re in becomes a matter very much up for debate. Elevating low-key domestic portraiture with extraordinary technical finesse, toward a big-swing finale of radical conceptual daring, the Austrian filmmaker’s third feature felt like the most refined and inventive formal statement in this year’s Un Certain Regard program at Cannes, and duly won the top prize there.
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