Editor’s note: With This Must Be the Place now officially released in theaters, here is a re-run of our Cannes review, originally published on May 20, 2011. Sean Penn‘s second appearance at this year’s fest – though in truth his first main once, since he was relegated to a side player in The Tree of Life – sees him don his finest goth garb and make-up to take an impressive shot at a Robert Smith type character. He plays Cheyenne, an aging former rock star, who seems happy to live off his royalties in a grand country house in Ireland with his wife (Frances McDormand), though really he is stagnating: depressed or bored, he can’t work out which. He gets an opportunity for respite when his father dies and he travels home to America for the funeral, subsequently learning that his father had been obsessed with tracking down a former Nazi Auschwitz guard who tormented him, and using the information he had already compiled to take on the task himself. In essence Paolo Sorrentino’s This Must Be The Place is a one-man road movie, and in traditional fashion it presents both a metaphorical and a physical journey through undiscovered or at least unfamiliar lands. And it all hangs on yet another stellar performance by Mr. Penn, who now must be getting close to being sick of the praise.