A Woman’s Life review – a breezy comedy of midlife crisis and same-sex affair

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Cannes film festival: Léa Drucker gives a bravura performance as a brilliant surgeon whose already chaotic life is further complicated by a same-sex affair with a journalist Charline Bourgeois-Tacquet’s new film is a hectic, garrulous, breezily agreeable comedy of midlife emotional upheaval, unencumbered by any serious or permanent concern about any of the passion and heartache that it briefly encounters. It’s also a movie that declines to allow its characters to be changed in any way by the excitements and disappointments that life has to throw at them. Léa Drucker carries off the lead with terrifically competent elan; there’s hardly a scene in which she is not interrupted by a call on her mobile, going into bravura walk-and-talk acting on the phone while on the street, arriving at the office or getting into or out of her car. She plays Gabrielle, a brilliant surgeon – what other sort is there in the movies? – who specialises in maxillofacial reconstruction. Gabrielle is battling budg...
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Bono: Stories of Surrender review – megastar tries out humility in likable one-man show

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Cannes film festival
The U2 singer’s solo stage appearance sees him reflect on his anguished family past and have a decent go at being an ordinary Joe

The stadium-conquering rock superstar Bono finds a smaller arena than usual for this more intimate and much acclaimed “quarter-man” show, performed solo without his U2 bandmates Adam Clayton, David “The Edge” Evans and Larry Mullen Jr and filmed live on stage at New York’s Beacon theatre in 2023 by Andrew Dominik. It’s a confident, often engaging mix of music and no-frills theatrical performance, with Bono often coming across like some forgotten character that Samuel Beckett created but then suppressed due to undue levels of rock’n’roll pizzazz.

Bono delivers anecdotes from his autobiography Surrender, starting with his recent heart scare and going back to his Dublin childhood, his musical breakthrough to global fame, his post-Live Aid charity work on poverty and famine relief (though no discourse on the question of whether Live Aid was a good thing), and his religious faith which evidently morphed from a radical Christianity in his teen years to a more wide-embracing spirituality; it is all interspersed with “unplugged” versions of U2 standards accompanied by harp and cello.

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