The director has had six films play in competition, and several others in sidebars. He served on the jury in 2016 and opened the festival with 2017’s “Ismael’s Ghosts.”
For longtime festival-goers, the prospect of another year in Cannes means another chance to catch up with this idiosyncratic auteur, whose work has always been defined by its looseness, as well as its ramshackle assembly of old-time film techniques, clipped pace and intellectual digressions.
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Compared to all that has preceded it, “Oh Mercy,” which premiered in Cannes on Wednesday, is his most unconventional film to date – precisely because it feels so very conventional.
A straight-down-the-line police procedural about a