Cannes Diary: Uncanny women

by Elisa Giudici

WILD DIAMOND © Silex Films

On the second day of the competition, following that hour-long panel with Meryl Streep—whose charm, humor, and down-to-earth demeanor exceeded expectations—I delved into two films featuring tough, abrasive women capable of evoking genuine unease...

WILD DIAMOND by Agathe Riedinger
Every festival I've attended seems to feature a film akin to Agathe Riedinger's debut, Wild Diamond. It narrates the story of a young girl trapped in a challenging family situation, both economically and emotionally. Her desperate struggle to assert herself and break free from a seemingly predetermined, unhappy existence unfolds predictably through restless wanderings, handheld camera shots, and intense close-ups.

WILD DIAMOND © Silex Films

The story holds interest, particularly as Wild Diamond portrays a girl with blind faith in social media, almost akin to a religion. She is a virgin, resistant to physical relationships, who experiences mystical ecstasy when she wakes in the middle of the night to a flood of comments on her Instagram account, whether positive or negative.

Despite the talent of the lead actress, Malou Khebizi, Wild Diamond feels like a pale imitation of similar films done more effectively elsewhere, particularly resembling a faded French copy of American Honey. Its ideal placement would likely have been in the Un Certain Regard section. Nevertheless, kudos to Khebizi for bravely tackling a series of scenes that involve running at full speed in high heels, constantly risking a fall or twisted ankle.

THE GIRL WITH THE NEEDLE © Lukasz Bak

THE GIRL WITH THE NEEDLE by Magnus von Horn
Visually and in terms of performances, Magnus Von Horn's (The Here After) new film emerges as the first notable title of the competition. However, The Girl with the Needle delves into such unsettling territory that I hesitate to recommend it to any audience without reservation.

Set in the aftermath of the Great War in Poland, Karoline, a widow bereft of subsidies because her husband is not officially recognized as missing, finds herself homeless. She's also entangled in a relationship that only further complicates her predicament. The "needle" referenced in the title symbolizes a knitting needle, serving as a grim reminder of the desperate attempts at abortion made by women like her. A chance encounter with a woman at the public baths promises a solution, but it turns out to be the inception of an increasingly disturbing and toxic relationship, concealing a gruesome secret.

Trine Dyrholm in THE GIRL WITH THE NEEDLE © Lukasz Bak

Loosely inspired by real events, The Girl with the Needle presents motherhood as a sinister force, particularly considering the disreputable position it imposes on women. While violence is unseen, the compelling performances by Vic Carmen Sonne and Danish star Trine Dyrholm (the latter reminiscent of Charlotte Rampling here) are more than sufficient to evoke gasps from the audience. The film opens with the protagonists’ faces distorted by the projection of others' contorted expressions, often venturing into the realm of horror. Amidst circus freaks and a hauntingly disfigured man plagued by night terrors, the true monsters lurk elsewhere, proving to be ruthless, manipulative, and genuinely infatuated with their victim.

More soon from Cannes

Comments

[Cláudio Alves]

As a fan of Magnus von Horn's SWEAT, I have high expectations for THE GIRL WITH THE NEEDLE. But the images and your review make it seem like such a different project that I'm not sure if it's going to be a hit with me or more of a miss. We shall see.

Also, I laughed at "Every festival I've attended seems to feature a film akin to Agathe Riedinger's debut" because that's exactly what I thought when I saw pictures and plot descriptions of the film. Hopefully, that's not too big of a mark against it.