Three Big Movies of Cannes 2018 that might make it to the Oscars!

As the Cannes Film Festival gets underway, one thing that’s quite obvious is this year’s mosaic of movies are focusing more on content than the obvious ingredients – A-list stars and big time stunts. To be sure, the festival isn’t just about big names and prestige pictures, but there is truly more  to sort through. 2018’s incarnation of Cannes, quite impressive, could potentially have more than its share of awards than season players. At this point, we just have to speculate on which they might be.



The lineup is eclectic and strong. Here are three of my picks that could contenders for the Oscars:



Solo: A Star Wars Story – Board the Millenium Falcon and journey to a galaxy far, far away in Solo: A Star Wars Story, an ann-new adventure with the most beloved scoundrel in the galaxy. Through a series of fearless escapades deep within a portentous criminal underworld, Han Solo meets his mighty future costar Chewbacca and encounters the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars Saga’s most unlikely heroes.




Gotti: Gotti is the semi-biographical tale of John Gotti, the infamous crime boss the Gambino mob family. This narrative chronicles not only the vicious rise of Gotti, also called the “Dapper Don”, but the FBI’s struggle to bring him to Justice. His refusal to play by the normal “rules” of the mafia ultimately became the mobster’s Achilles heels, the FBI eventually persuaded assassin Sammy “The Bull” Gravano to testify against  his ungrateful, paranoid boss, that was finally imprisoned in 1982. Gotti is based in part on a book by Jerry Capeci and Gene Mustain titled Mob Star: The Story of John Gotti. Gotti, directed by Robert Harmon stars Armand Assante as the complicated mafia lord, and also features actors Anthony Quinn and William Forsythe. Very much reminiscent of the Sopranos.




Cold War: A seductively intimate story. Even without reading background material, it comes as no question that the closing frame of Pawel Pawlikowski’s Cold War bears the dedication, ‘for my parents’. The seductively intimate love story between Wiktor and Zula, starting in the ruins of post-war Poland.  The beauty is in the way Pawlikowski finds an elegant and melancholy way to resolve what have been a formless and sprawling saga. It also weaves in a political perspective to it, sort of an ambitious perspective into it. When Wiktor and Zula become lovers, and Irena leaves the picture for a bit, although Kaczmarek only continues to climb the ladder of political success, and quietly lusts after Zula from afar.