Waking up to great news always makes a great day and I’m truly happy to share with you all that one of my most-favorite directors will be honored this year with the honor given to a director by his peers. La Carrose d’Or (Golden Coach) is a tribute by directors of Société des réalisateurs (SRF) to one of their own, chosen from the international filmmaking community for the innovative qualities, courage and independent-mindedness of his or her work.
The Carrosse d’Or is a bronze statuette inspired by the figures of the Comedia dell’Arte and Jean Renoir’s film of the same name – it was created by painter-sculptor Lili Legouvello. … and the award goes to: Aki Kaurismäki!!!
The following is an extract of the letter sent to Aki Kaurismäki by SRF board of directors: Luc Battiston, Stéphane Brizé, Thomas Cailley, Laurent Cantet, Malik Chibane, Catherine Corsini, François Farellacci, Léa Fehner, Pascale Ferran, Denis Gheerbrant, Fabienne Godet, Stéphanie Kalfon, Cédric Klapisch, Héléna Klotz, Thomas Lilti, Paul Marques Duarte, Anna Novion, Katell Quillévéré, Christophe Ruggia, Pierre Salvadori, Céline Sciamma, Jan Sitta.
Your stories are inspired fables telling tales of the forgotten, those fallen through cracks, those who are extreme, and those who have no user manual.
You film, without exception, economically, with precision and grandeur, without ever giving up on fiction, poetry or even the burlesque
By featuring these characters you give them a place, and you save them, because those whose stories are not told, do not exist.
Your films are often melancholy but never devastating. They always end by finding a firework to light up the darkest nights and the most sombre inclinations.
Alcohol, love, friendship, gifts or chance sometimes save your characters from boredom, despair, or death as your films save the audience from too much normality.
For all of this, for the languor and insolence of your films, for their healthy and calm subversion, we would like to honor you at the same moment as the greatest cinephile event in the world.
There are some words in the extract that made visualize some of Kaurismäki films, those films that have mesmerized me and visually take me into very-cold bluish bliss; but most of all, those films that I love for his peculiar and particular storytelling style that more often than not, requires fantastic deadpan performances by his actors.
For me the best from the extract is when SRF directors verbalize what I believe to be one the best truths about Kaurismäki, he save us, the audience, from too much normality!
Since La Carrose d’Or creation in 2002 many great directors have received the honor, including some of my favorite director like Nuri Bilge Ceylan, Jane Campion, Naomi Kawase or Jia Zhangke; but to be honest, this year the honoree made me very emotional, as much as his films do not make me (lol)!!! Congratulations!
If you wish to read the official SRF press release in English go here. As we know SRF is the creator and organizer of Quinzaine des réalisateurs, so the award will be presented during the collateral section opening night on May 12. Expect more activities around this award like screening of some of his films, perhaps a masterclass and the pleasure of watching Kaurismäki unusual presence (and behavior) in Cannes. Love it!
Today the Association du Cinéma Indépendant pour sa Diffusion (ACID) announced the usual nine (9) films in the selection that promotes diffusion of independent films in movie theaters and encourages debates between authors and audiences for the last 23 years.
The selection of nine films has 14 filmmakers, 2 documentaries and 1 animation; three are first films and five are second films plus only three films have already distribution. But most interesting is the fact that the selection is eclectic with diverse approaches, mises en scène, narrations and genres. From the deadpan comedy to incredible paranoid anti-hero, the movies explode the boundaries and make us take a step aside.
The program is crossed by a major reason, that the uniqueness of the characters that reverse the patterns that surround them: the fragile, the dissimilar, the melancholic, the lonely, the eccentric are endowed with wise words of unalterable will, of fertile imagination, refreshing humor … Isola, Fabianny Deschamps, France La Jeune Fille Sans Mains, Sébastien Laudenbach, France (1st film) Madame B, Histoire d’Une Nord-Coreene (Mrs. B.), Jero Yun, France and South Korea (documentary) Le Parc (The Park), Damien Manivel, France Sac La Mort, Emmanuel Parraud, France Swagger, Olivier Babinet, France (documentary) Tombé du Ciel, Wissam Charaf, France and Lebanon (1st film) Le Voyage Au Groenland, Sébastien Betbeder, France Willy 1er, Ludovic & Zoran Boukherma, Marielle Gautier and Hugo P. Thomas, France (1st film)
To check the announcement at the official site go here, eventually will be in English but today is available only in French.
Isola(aka Isola Che Non C’è) by Fabianny Deschamps Une Chinoise échouée sur un ile perdue au fin fond de l’Italie attend un mari qui ne vient pas. Un Africain naufragé sur les côtes du nord de la Chine attend de rejoindre l’Europe tant espérée. Isola conte les parcours absurdes et cruels des mouvements migratoires d’aujourd’hui. Une histoire faite de rêve mais sans féerie qui s’écrit chaque jour, ici et maintenant, aux portes de l’Europe.
English synopsis: Feature film about the absurd and cruel trajectories of people’s migrations today. A story made of dreams without fairies that happens everyday at the gates of Europe.
La Jeune Fille Sans Mains by Sébastien Laudenbach With the voices of Anaïs Demoustier and Jérémie Elkaïm En des temps difficiles, un meunier vend sa fille au Diable. Protégée par sa pureté, elle lui échappe mais est privée de ses mains. Cheminant loin de sa famille, elle rencontre la déesse de l’eau, un doux jardinier et le prince en son château. Un long périple vers la lumière.
Madame B, Histoire d’Une Nord-Coreene (Mrs. B.) by Jero Yun Portrait of Mrs. B., a tough charismatic North Korean woman who smuggles between North Korea, China and South Korea. With the money she gets, she plans to reunite with her two North Korean sons after years of separation.
Le Parc (The Park) by Damien Manivel In Summertime: two teenagers have their first date in a park. Both nervous and shy at the beginning, they soon discover a strong attraction to each other; they get closer while wandering in the park and end up falling in love. But the night is coming, so it’s time to leave…
Sac la mort by Emmanuel Parraud In today’s Reunion, Patrice must avenge the death of his brother, who has been brutally murdered. But does he have the strength for it, as he has just lost his home?
Swagger by Olivier Babinet
Tombé du Ciel by Wissam Charaf Après 20 ans de séparation, Samir, ancien milicien présumé mort, réapparaît dans la vie d’Omar, son petit frère devenu garde du corps à Beyrouth. Entre drame et comédie, Samir doit se confronter à un pays qui ne lui appartient plus et retisser des liens avec sa famille.
Le Voyage Au Groenland by Sébastien Betbeder
Willy 1er by Ludovic & Zoran Boukherma, Marielle Gautier and Hugo P. Thomas Synopsis : à la mort de son frère jumeau, Willy Pruvost, la cinquantaine, légèrement simple d’esprit, décide de quitter sa famille pour prendre son indépendance. « A Yvetot, j’irai. Un appartement, j’en aurai un. Un scooter, j’en aurai un. Des copains, j’en aurai. Et j’vous emmerde ! ». Pour ce faire, il déménage dans le village voisin, à dix-huit kilomètres de son malheur.
A few minutes ago in Paris, la Quinzaine des Réalisateurs Artistic Director, Edouard Waintrop, announced the films in the parallel section of the Cannes Film Festival run by the Société des réalisateurs de films (French Director’s Guild) and I’m glad that some of the films I was looking forward to see in Cannes are in this section. Relief.
Waintrop regretted the passing of outstanding filmmaker and actress Ronit Elkabetz, R.I.P. The news hit me hard as she was very young, 51-years-old, and I highly enjoyed her particular performing style as well as her directing style in films she directed with her brother. I’m sad but know that she will live in her body-of-work.
Back to the selection, there are some snubs that puzzle me as was hoping for French cinema filmmakers Bertrand Bonello’s Nocturama, Rebecca Zlotowski’s Planeatarium and Katell Quillévéré’s Répare les vivants; still glad Lafosse made it, as well as the last film by the late Solveig Anspach. Most interesting is the animated film by Claude Barras co-written by none other than Céline Sciamma and I’m extremely curious about Laura Poiras latest documentary but from all the selection the film that wish to watch the most is Neruda by Pablo Larrain. As previously announced, this year’s Carrosse d’Or,awarded to a director from the international filmmaking community for the innovative qualities, courage and independent-mindedness of his or her work, goes to one of my favorite directors, outstanding master filmmaker Aki Kaurismaki.
Here are the 18 feature films and 11 short films.
Opening Film: Fai bei sogni (Sweet Dreams), Marco Bellocchio, Italy and France Closing Film: Dog Eat Dog, Paul Schrader, USA
Divines, Uda Benyamina, France Fiore, Claudio Giovannesi, Italy and France La Pazza Gioia (Like Crazy), Paolo Virzì, Italy L’economie du couple (After Love), Joachim Lafosse, France and Belgium L’Effet aquatique (The Together Project), Solveig Anspach, France and Iceland Les Vies de Thérese, Sebastien Lifshitz, France (documentary) Ma vie de courgette (My Life as a Zucchini), Claude Barras, Switzerland and France Mean Dreams, Nathan Morlando, Canada Mercenaire, Sacha Wolff, France Neruda, Pablo Larrain, Argentina, Chile, Spain, USA and France Poesía Sin Fin (Endless Poesy), Alejandro Jodorosky, Chile, Japan and France Raman Raghav 2.0, Anurag Kashyap, India Risk, Laura Poitras, Germany and USA Tour de France, Rachid Djaïdani, France Two Lovers and a Bear, Kim Nguyen, Canada Wolf and Sheep, Shahrbanoo Sadat, Denmark, Sweden and France
Chasse Royale, Lise Akoka and Romane Gueret, France Decorado, Alberto Vázquez, Spain Habat Shel Hakala, Tamar Rudoy, Israel Happy Endu (Happy End), Jan Saska, Czech Republic, 6′ Hitchhiker, Jero Yun, South Korea, 20′ Import, Ena Sendijarevic, Netherlands Kindil el Bahr, Damien Ounouri, Algeria Léthé, Dea Kulumbegashvili, Georgia Слушая Бетховена Listening to Beethoven, Garri Bardine, Russia O Segredo De Abigail (Abigail),Isabel Penoni and Valentina Homem, Brazil Zvir (The Beast), Miroslav Sikavica, Croatia, 14′
Seems the new site has been flooded with requests and was not prepared for the traffic, so it’s hard to access it but the list at the official site is here.
This year, after Cannes, the films of the 48th Directors’ Fortnight will be shown in Paris, Marseille, Geneva, Rome, Milan, Florence and Brussels.
After the Taipei Factory in 2013, the Nordic Factoryin 2014 and the Chile Factory in 2015 the Directors’ Fortnight is glad to continue the adventure this coming year with the South Africa Factory. The Factory project aims at the emergence of new talents on the international scene, allowing young international directors to meet and create together.
The Directors’ Fortnight is proud to showcase the result of these exchanges, four (4) 15 minutes short films, co-directed by 4 tandems of young directors.
Zee Ntuli (South Africa) and Isabelle Mayor (France/Switzerland) Zamo Mkhwanazi (South Africa) and Alejandro Fadel (Argentina) Sheetal Magan (South Africa) and Martín Morgenfeld (Argentina) Samantha Nell (South Africa) and Michael Wahrman (Brazil)
Last Monday the Accademia del Cinema Italiano had their award ceremony and to the surprise of many the so-called “offbeat superhero” movie They Call Me Jeeg was the big winner of the night as collected seven (7) prizes including best debut director but top awards went to more traditional cinema as Perfect Strangers by Paolo Genovese won Best Picture, Matteo Garrone won Best Director for Tale of Tales and film also won best cinematography plus several tech categories for a total of also seven (7) prizes.
Legend Gina Lollobrigida and venerable auteur duo the Taviani Brothers were honored with Special Davids earlier in the day by Italy’s President Sergio Mattarella and Culture Minister Dario Franceschini. Have not seen Gabriele Mainetti film as is definitively not my kind of cinema as we all have Hollywood for that kind of movies and somehow regret that countries with extraordinary cinema tradition are choosing to go mainstream, while its great directors go to make English-speaking movies. Something must be happening with Italian Cinema industry and hope soon great Italian master filmmakers will go back to do great Italian Cinema. Sigh.
To read winners at official site go here, available only in Italian. Winners are in *BLUE.
—///— 3/22/16 Francesco Castelnuovo and Gianni Canova announced a few minutes ago the nominations for the 60th edition of the David di Donatello awards and somehow signaled the many changes that the award will have this year.
Actually changes started a few months back when organizers did a major design overhaul to the official site and today there are new, more professional-looking graphics plus for the first time their association with Sky became visible when the nominations were broadcasted live. As a matter of fact for the first time the awards ceremony will be broadcasted by Sky, via Sky Cinema and TV8, on April 18, but more interesting the show will be produced by Sky so we can expect a show with more production values than before as well as probably will be more entertaining. On the not-so-good side of the news, we are not sure IF broadcast will be open to everyone around the world as used to be when RAI was in charge.
The nominations bring attention to films that already have been in the radar of many as most come from the three major festivals, but the BIG surprise is the inclusion of Lo chiamavano Jeeg Robot by newcomer director Gabriele Mainetti that collected 16 nominations! Also with 16 nods Italy’s submission to Oscars, Non essere cattivo by Claudio Caligari. Following close is Youth by Paolo Sorrentino with 14 and Tale of Tales by Matteo Garrone with 12.
Most notable among the films nominations is the a documentary that just a couple of months ago won the Golden Bear at 2016 Berlinale, Fuocoammare by Gianfranco Rosi whom, according to Italian press, is rubbing shoulders with some of the contemporary “Gods” of Italian cinema. Also my attetion went directly to the Best Actress category and was surprised to find seven (7) nominees, definitively there are too many nominees, but definitively approve (lol) the honor given to Juliette Binoche and Valeria Golino.
The most curious observation comes when you realize that this year Ennio Morricone won an Oscar, got a Cèsar nomination and now a David di Donatello nomination with three (3) different films! That’s what you can call a very prolific 87-years-old musician. Bravo and Congrats to Morricone.
Best Film Fuocoammare (Fire at Sea), Gianfranco Rosi Il racconto dei racconti (Tale of Tales), Matteo Garrone Non essere cattivo (Dont’ Be Bad), Claudio Caligari *Perfetti sconosciuti, Paolo Genovese Youth, Paolo Sorrentino
Best Director Gianfranco Rosi for Fuocoammare (Fire at Sea) *Matteo Garrone for Il racconto dei racconti (Tale of Tales) Claudio Caligari for Non essere cattivo (Don’t Be Bad) Paolo Genovese for Perfetti sconosciuti Paolo Sorrentino for Youth
Best New Director Carlo Lavagna for Arianna Adriano Valerio for Banat – Il viaggio Piero Messina for L’Attesa (The Wait) *Gabriele Mainetti for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Fabio Bonifacci e Francesco Micciché for Loro chi? Alberto Caviglia for Pecore in erba
Best Screenplay Edoardo Albinati, Ugo Chiti, Matteo Garrone and Massimo Gaudioso for Il racconto dei racconti (Tale of Tales) Nicola Guaglianone and Menotti for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Claudio Caligari, Giordano Meacci and Francesca Serafini for Non essere cattivo (Don’t Be Bad) *Filippo Bologna, Paolo Costella, Paolo Genovese, Paola Mammini and Rolando Ravello for Perfetti sconosciuti Paolo Sorrentino for Youth
Best Actress Àstrid Bergès Frisbey in Alaska Paola Cortellesi in Gli ultimi saranno ultimi Sabrina Ferilli in Io e lei Juliette Binoche in L’attesa (The Wait) *Ilenia Pastorelli in Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Valeria Golino in Per amor vostro Anna Foglietta in Perfetti sconosciuti
Best Supporting Actress Piera Degli Esposti in Assolo *Antonia Truppo in Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Elisabetta De Vito in Non essere cattivo (Don’t Be Bad) Sonia Bergamasco in Quo vado? Claudia Cardinale in Ultima fermata
Best Actor *Claudio Santamaria in Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Alessandro Borghi in Non essere cattivo (Don’t Be Bad) Luca Marinelli in Non essere cattivo (Don’t Be Bad) Marco Giallini in Perfetti sconosciuti Valerio Mastandrea in Perfetti sconosciuti
Best Supporting Actor Valerio Binasco in Alaska Fabrizio Bentivoglio in Gli ultimi saranno ultimi Giuseppe Battiston in La felicità è un sistema complesso *Luca Marinelli in Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Alessandro Borghi in Suburra
David Giovani Alaska, Claudio Cupellini Gli ultimi saranno ultimi, Massimiliano Bruno *La Corrispondenza, Giuseppe Tornatore Non essere cattivo (Don’t Be Bad), Claudio Caligari Quo vado?, Gennaro Nunziante
Best Cinematography *Peter Suschitzky for Il racconto dei racconti (Tale of Tales) Michele D’Attanasio for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Maurizio Calvesi for Non essere cattivo (Don’t Be Bad) Paolo Carnera for Suburra Luca Bigazzi for Youth
Best Editing Jacopo Quadri for Fuocoammare (Fire at Sea) *Andrea Maguolo and Federico Conforti for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Consuelo Catucci for Perfetti sconosciuti Patrizio Maroneper for Suburra Cristiano Travaglioli for Youth
Best Sound Maricetta Lombardo for Il racconto dei racconti (Tale of Tales) Valentino Giannì for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) *Angelo Bonanni for Non essere cattivo (Don’t Be Bad) Umberto Montesanti for Perfetti sconosciuti Emanuele Cecere for Youth
Best Score Alexandre Desplat for Il racconto dei racconti (Tale of Tales) Ennio Morricone for La corrispondenza Michele Braga and Gabriele Mainetti for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Paolo Vivaldi and Alessandro Sartini for Non essere cattivo (Don’t Be Bad) *David Lang for Youth
Best Original Song La felicità è un sistema complessowith song “Torta di noi” music, lyrics and performed by Niccolò Contessa Non essere cattivo (Don’t Be Bad) with song “A cuor leggero”music, lyrics and performed by Riccardo Sinigallia Perfetti sconosciuti with song “Perfetti Sconosciuti music by Bungaro e Cesare Chiodo, lyrics and performance by Fiorella Mannoia Quo vado? with song “La prima repubblica” music, lyrics and performed by Luca Medici (Checco Zalone) *Youth with song “Simple Song #3” music and lyrics by David Lang performance by Sumi Jo
Best Production Design *Dimitri Capuani and Alessia Anfuso for Il racconto dei racconti (Tale of Tales) Maurizio Sabatini for La corrispondenza Massimiliano Sturiale for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Giada Calabria for Non essere cattivo (Don’t Be Bad) Paki Meduri for Suburra Ludovica Ferrario for Youth
Best Costume *Massimo Cantini Parrini for Il racconto dei racconti (Tale of Tales) Gemma Mascagni for La corrispondenza Mary Montalto for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Chiara Ferrantini for Non essere cattivo (Don’t Be Bad) Carlo Poggioli for Youth
Best Makeup *Gino Tamagnini, Valter Casotto, Luigi D’Andrea e Leonardo Cruciano for Il racconto dei racconti (Tale of Tales) Enrico Iacoponi for La corrispondenza Giulio Pezza for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Lidia Minì for Non essere cattivo (Don’t Be Bad) Maurizio Silvi for Youth
Best Hairstyle *Francesco Pegoretti for Il racconto dei racconti (Tale of Tales) Elena Gregorini for La corrispondenza Angelo Vannella for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Sharim Sabatini for Non essere cattivo (Don’t Be Bad) Aldo Signoretti for Youth
Best Visual Effects EDI – Effetti Digitali Italiani for Game Therapy *Makinarium for Il racconto dei racconti (Tale of Tales) Chromatica for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Visualogie for Suburra Peerless for Youth
Best Producer 21uno Film, Stemal Entertainment, Istituto Luce-Cinecittà, Rai Cinema, Les Films d’Ici con Arte France Cinéma for Fuocoammare (Fire at Sea) Archimede, Rai Cinema for Il racconto dei racconti (Tale of Tales) *Gabriele Mainetti per Goon Films, Rai Cinema for Lo chiamavano Jeeg Robot (They Call Me Jeeg Robot) Paolo Bogna, Simone Isola and Valerio Mastandrea for Kimera Film, with Rai Cinema and Taodue Film, associate producer Pietro Valsecchi, in colaboration with Leone Film Group for Non essere cattivo (Don’t Be Bad) Nicola Giuliano, Francesca Cima, Carlotta Calori for Indigo Film for Youth
Best Short Film A metà luce, Anna Gigante *Bellissima, Alessandro Capitani Dove l’acqua con altra acqua si confonde, Gianluca Mangiasciutti e Massimo Loi La ballata dei senzatetto, d Monica Manganelli Per Anna, Andrea Zuliani
Best Documentary Harry’s Bar, Carlotta Cerquetti I bambini sanno, Walter Veltroni Lousiana (The Other Side), Roberto Minervini Revelstoke. Un bacio nel vento (Revelstoke: A Kiss in the Wind), Nicola Moruzzi *S is for Stanley, Alex Infascelli
Best European Film 45 Years, Andrew Haigh Le Tout nouveau Testament (The Brand New Testament), Jaco Van Dormael *Saul Fia (Son of Saul), László Nemes Perfect Day, Fernando León de Aranoa The Danish Girl, Tom Hooper
Best Foreign Film *Bridge of Spies, Steven Spielberg Carol, Todd Haynes Inside Out, Peter Docter and Ronnie del Carmen Remember, Atom Egoyan Spotlight, Thomas McCarthy
To read the nominations at official site go here, available only in Italian.
Last Wednesday fest organizers announced the Cannes Classics program for this edition and later on Friday, April 22 the news were updated. This post has the updated news for the section and yes, it’s almost a cut and paste with all the info released as have added some comments when applicable. If you wish to read it at the official site go here.
Bertrand Tavernier with a world premiere preview, a conversation with William Friedkin, a 1966 celebration, the 70th anniversary of the Fipresci prize, Wiseman & Depardon, two giant documentary filmmakers, unknown features from far away countries, film libraries honored, Eastern Europe movies, documentaries about cinema, great popular films, genre films, science fiction, comedies, an animation film, gothic horror, westerns: this is Cannes Classics 2016.
Most of the films which will be presented will be released in theaters and on DVD/Blu-ray. In whole or in part, the Cannes Classics program will be screened at Les Fauvettes theater (Paris), at the festival Cinema Rittrovato (Bologna), at the Institut Lumière (Lyon). World Premiere preview of Bertrand Tavernier’s Documentary about French Cinema
Voyage à travers le cinéma français by Bertrand Tavernier (2016, 3h15, France). “This work as a citizen and spy, as an explorer and as a painter, as a columnist and as an adventurer that have been described so well by many authors, from Casanova to Gilles Perrault, is not a beautiful definition of a filmmaker that we want to apply to Renoir, Becker, to the Vigo of Zéro de Conduite, to the Duvivier of Pépé le Moko, as well as Truffaut, Franju or Demy. To Max Ophuls and also Bresson. And to less known directors whom, during a scene or a film, sparkle an emotion, find some surprising truths. I would like this film to be an act of gratitude to all the filmmakers, writers, actors and musicians that have appeared suddenly in my life. Memory warms up: this film is a bit of coal for winter nights.”
A Little Bear-Gaumont-Pathé coproduction, with the participation of CANAL+, CINE+, of the SACEM. And with the support Région Ile-de-France, in partnership with the CNC. International sales: Gaumont. Distribution in France: Pathé. The film will be released in theaters in October 2016.
Cinema Masterclass: William Friedkin
The American filmmaker will give the annual Cinema Masterclass hosted by film critic Michel Ciment on Wednesday, May, 18th. He will also introduce a restored surprise film at Buñuel Theater and Sorcerer (1977) at the Cinéma de la Plage.
Sorcerer presented by La Rabbia. A Warner Bros Restoration under the supervision of Ned Price, Vice President of Mastering at Warner Bros. and William Friedkin. Scan 4 K from the 35mm négative. Audio restoration by Aaron Levy from 35mm 4-stereo track. Color-grading supervision by Bryan McMahan. Thanks to Bob Finkelstein, Karen Magid, Craig Kornblau, Dan O’Rourke, Traci Caroll, Wallon Green, Bud Smith.
The Double Palme d’Or of 1966
The Battle of the Rails opened this mini-retrospective and the Festival de Cannes has kept on welcoming the restorations of the films which won the Palme d’Or. In 2016 we are going back to the year 1966 and its two winners, Pietro Germi and Claude Lelouch. They were awarded the prize by the jury presided over by Sophia Loren.
Signore & signori (The Birds, the Bees and the Italians) by Pietro Germi (1966, 2h, Italy/France) Presented by Cineteca di Bologna, Istituto Luce – Cinecittà, DEAR International. Restored by Cineteca di Bologna, Istituto Luce – Cinecittà and DEAR International at L’Immagine Ritrovata laboratory.
Un Homme et une femme (A Man and a Woman) by Claude Lelouch (1966, 1h42, France) Presented by Les Films 13. The film has been restored by Eclair laboratory in Vanves. It was scanned and color-graded from the original 35mm color and black and white negative with Claude Lelouch. It was digitally restored and finalized in 2K for the DCP. The sound was restored from the original mono magnetic 35mm.Restoration and digitization with the support of the CNC.
A Crossed Tribute to Raymond Depardon and Frederick Wiseman
Faits divers by Raymond Depardon (1983, 1h30, France) Presented by Palmeraie et désert with the support of the CNC. Original negative digitized and restored frame by frame in 2K by Eclair. Restoration and color-grading supervised by Raymond Depardon who will introduce his film before the screening.
Hospital by Frederick Wiseman (1969, 1h24, USA) Presented by Zipporah Films and Blaq Out in partnership with Doc & Film and UniversCiné, Hospital was restored in a 35 mm copy by the Library of Congress Audiovisual Conservation Center from original camera negatives in the Zipporah Films Collection.
Upon this occasion Frederick Wiseman will be present at Cannes and be awarded the Prix Consécration by France Culture radio station.
The First Prize of the FIPRESCI, upon the Ocassion of the Celebration of the 70th Anniversary of the Prize of the International Federation of Film Critics
Farrebique by Georges Rouquier (1946, 1h27, France) Presented by Les Documents cinématographiques. The film was digitized and restored by Eclair with the support of the CNC. The 2K restoration has been made from a nitrate negative and nitrate interpositive. Cristina Martin at the Documents Cinématographiques coordinated and managed the project.
Nine Documentaries About Cinema
Cannes Classics programs documentaries as every year—a way to tell the history of cinema by cinema itself. Let me remind you that the following plus all the other documentaries will be eligible for the second L’Œil d’or (The Golden Eye), the award created in 2015 by SCAM – Société Civile des Auteurs Multimédia
The Cinema Travelers by Shirley Abraham and Amit Madheshiya (2016, 1h36, India) Presented and produced and by Cave Pictures (India). The portrait of a traveling movie theater in India, which continues to bear the magic of the images to a stunned audience, is faced with technological, numerous and complex changes. A projector repairman narrates film changes with poetry, philosophy and pragmatism.
The Family Whistle by Michele Russo (2016, 1h05, Italy) Presented by American Zoetrope, produced par Ulisse Cultural Association. The Coppola family—their arrival in the US, their links with their native Italy and their relationship to music. A lot of interviews and malicious anecdotes from one of the greatest clans of today’s cinema. With Francis Coppola and Talia Shire.
Cinema Novo by Eryk Rocha (2016, 1h30, Brazil) Presented by FiGa Films. Produced by Aruac Filmes & Coqueirão Pictures, co-produced by Canal Brasil & FM Produções. A political and poetic movie essay, focusing on the major films of the Cinema Novo wave in Brazil. Numerous interviews with directors Nelson Pereira dos Santos, Glauber Rocha, Leon Hirszman, Joaquim Pedro de Andrade, Ruy Guerra, Walter Lima Jr. and Paulo César Saraceni.
Midnight Return: The Story of Billy Hayes and Turkey by Sally Sussman (2016, 1h39, USA) Presented and produced by Midnight Return LLC, in association with Old Forest Hill Productions, Inc. The story of the film Midnight Express by Alan Parker (1978) as told by those who made it: director Alan Parker, screenwriter Oliver Stone and producer David Puttnam. In parallel the real protagonist Billy Hayes discusses his personal journey and how his life has changed. Turkey, the image and the diplomatic relations of which were affected by the film, gives its point of view, as Billy Hayes tries to go back there to rebuild broken links.
Bright Lights: Starring Carrie Fisher and Debbie Reynolds by Alexis Bloom and Fisher Stevens (2016, 1h35, USA) Presented by HBO Documentary Films, produced by HBO and RatPac Documentary Films. The life and intimate relationship of two actresses: Carrie Fisher, the heroine of Star Wars, and Hollywood legend Debbie Reynolds who starred in Singing in the Rain. The big story and the small story unfold before our eyes. A tender documentary on two golden ages of American cinema.
Gentleman Rissient by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann (2015, 1h14 minutes, France) Presented and produced by SODAPERAGA and CINE+ (Bruno Deloye). A film co-directed by Benoît Jacquot, Pascal Mérigeau and Guy Seligmann to unveil Pierre Rissient, a man of discovery—publicist, producer, director and tireless ambassador of world cinema.
Close encounters with Vilmos Zsigmond by Pierre Filmon (2016, 1h22, France) Presented and produced by FastProd, Lost Films and Radiant Images with the participation of TCM Cinéma. To be released in French theaters. The life of cinematographer Vilmos Zsigmond. From the streets of Budapest to Hollywood he describes his out of the ordinary journey. Many performers, including John Travolta and Nancy Allen, and famous cinematographers talk, question him and we discover a complete artist.
Et La femme créa Hollywood (Women Who Run Hollywood) by Clara and Julia Kuperberg (2015, 52mn, France) Presented and produced by Wichita Films and OCS. Exploring the exciting stories of Lois Weber, Mary Pickford and Dorothy Arzner, we discover a passionate gallery of pioneers who also created Hollywood. What do they have in common? They are all women and they have all been almost forgotten.
Bernadette Lafont et Dieu créa la femme libre by Esther Hoffenberg (2016, 65mn, France) Presented and produced by ARTE France, Lapsus, Inthemood and INA.A journey with Bernadette Lafont, the most atypical French film actress. The film sweeps her life and stunning artistic career. Her granddaughters go back to Bernadette’s dreams and her friends Bulle Ogier and Jean-Pierre Kalfon evoke their artistic and human complicity. Throughout the film Bernadette Lafont with her unmistakable voice of character actress weaves the movie of her life.
As every year Cannes Classics showcases around twenty restored prints. Extra attention has been paid to invite countries which had never been invited for their patrimonial work (Slovenia, Switzerland, Pakistan, Czech Republic, Cuba, Thailand, Hungary, and Poland). Watch out for rare gems! Also, we have great classics, film libraries and films which give us news.
Perhaps not really rare gems but having the opportunity of watching restored versions of films by Tarkovsky and Mizogushi makes this year Cannes Classics edition absolutely out of the ordinary.
Die letzte Chance (The Last Chance) by Leopold Lindtberg (1945, 1h53, Switzerland) A presentation of the Cinémathèque suisse. A restoration of the Cinémathèque suisse and the Schweizer Radio und Fernsehen (SRF) with the support of Memoriav at Hiventy laboratory.
Dolina Miru (Valley of Peace) by France Stiglic (1956, 1h30, Slovenia) A presentation of the Slovenian Film Centre. 2K film and sound restoration from 4K scan of black and white 35 mm intermediate film positive and internegative. Restored sound from a 35mm optical sound negative. Restorations lead by Bojan Mastilović and Janez Ferlan, color grading lead by Janez Ferlan,at Iridium Film, Ljubljana. Sound restoration lead by Matjaž Zdešar. Supervised by project commission: DOP Lev Predan Kowarski and Rado Likon, director Urša Menart.
Ikarie XB 1 by Jindřich Polák (1963, 1h28, Czech Republic) A presentation of the National Film Archive in Prague (NFA). Source for the digitization were elements preserved in the NFA, image was digitized from the original camera negative and sound from the sound negative. 4K restoration made under the supervision of the NFA in the Hungarian Filmlab. The film was digitally restored within the project “Digital restoration of Czech film heritage” which was supported by a grant from Iceland, Lichtenstein and Norway and co-financed by the Czech Ministry of Culture. Project partners were the National Library of Norway and CESNET.
Jago hua savera (Day Shall Dawn) by Aaejay Kardar (1958, 1h34, Pakistan) A presentation of the Nauman Taseer Foundation. Image and sound restoration from the best elements possible, since the negative has disappeared, by Deluxe Restoration London. It was commissioned by Anjum Taseer.
Memorias del subdesarrollo (Memories of the Underdevelopment) by Tomás Gutiérrez Alea (1968, 1h37, Cuba) A presentation of Les Films du Camélia and Cineteca di Bologna. Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with Instituto Cubano del Arte e Industria Cinematográficos(ICAIC) and Les Films du Camélia. The film will be released in French theaters. Santi-Vina by Thavi Na Bangchang (1954, 1h54, Thailand) A presentation of Film Archive (Public Organization) in Thailand. The original material of this film was considered lost. In 2014 the original material was found in the British Film Institute as well as the release print in the China Film Archive and at the Gosfilmofond in Russia. A 4K scan and restoration was carried out from the original camera and sound negatives found at the BFI. The restoration work was carried out at L’Immagine Ritrovata laboratory.
Szerelem (Love) by Károly Makk (1971, 1h32, Hungary) A presentation of the Hungarian National Film Fund and of the Hungarian National Digital Film Archive and Film Institute (MaNDA). A 4K Scan and Restoration from the original 35mm negatives. Digitization and restoration of the sound from 35mm magnetic tapes. Restoration made by the Focus-Fox Studio and Hungarian Filmlab. The film will be released in French theaters.
Howards End by James Ivory (1992, 2h20, United Kingdom/Japan) A presentation of the Cohen Film Collection LLC with director James Ivory and actress Vanessa Redgrave in attendance. Digital restoration from the original camera negative held at the archive of the George Eastman Museum completed in 4K by Cineric Portugal – Simon Lund. Color grading under the supervision of cinematographer Tony Pierce-Roberts and director James Ivory by Deluxe Restoration (London) – Steve Bearman, Mark Bonnici, Graham Jones. 5.1 audio track restoration by Audio Mechanics (Burbank) – John Polito.
Decakolog 5 (Thou shalt not kill) and 6 (Thou shalt not commit adultery) by Krzysztof Kieślowski (1989, 57mn et 58mn, Poland) A presentation of MK2 and TVP. Restoration in 2K from original image negatives by TVP in Poland. The color-grading of each episode has been supervised by the DOPs of the episode they photographed.
Momotarô, Umi no shinpei (Momotaro, Sacred Sailors) by Mitsuyo Seo (1945, 1h14, Japan) A presentation of Shochiku Studio. The digital restoration is scanned in 4K, image restoration and projection in 2K by Shochiku Co., Ltd.
One-Eyed Jacks by Marlon Brando (1961, 2h21, USA) A presentation of Universal Studios and The Film Foundation. Restored by Universal Studios in collaboration with The Film Foundation. Special thanks to Martin Scorsese and Steven Spielberg for their consultation on this restoration.
Solyaris (Solaris) by Andreï Tarkovski (1972, 2h47, Russian Federation) A presentation of Mosfilm Cinema Concern. Digital frame-by-frame restoration of image and sound from 2K scan of the negative. Producer of the restoration: Karen Shakhnazarov.
Ugetsu monogatari (Ugetsu) by Kenji Mizoguchi (1953, 1h37, Japan) Presented by The Film Foundation, KADOKAWA Corporation, and the Hollywood Foreign Press Association. Restored by The Film Foundation and KADOKAWA Corporation at Cineric Laboratories. Special thanks to Masahiro Miyajima and Martin Scorsese for their consultation on this restoration. Restoration funding provided by the Hollywood Foreign Press Association in association with The Film Foundation and KADOKAWA Corporation.
Dragées au poivre (Pepper Candy) by Jacques Baratier (1963, 1h34, France) A presentation of the CNC and the Association Jacques Baratier. Digital restoration made from the digitization in 2K of the 35mm negatives. Restoration made by Mikros Image.
Valmont by Milos Forman (1989, 2h17, France) A presentation of Pathé. Restoration carried out by Pathé en 2016, made in 4K by L’Immagine Ritrovata laboratory, with the support of the CNC.
Gueule d’amour by Jean Grémillon (1937, 1h32, France) Presented by TF1 Droits Audiovisuels with the suppport of the CNC. A 4K restauration from the original negative made at Hiventy.
Masculin féminin by Jean-Luc Godard (1966, 1h50, France) A presentation of Argos Films and TAMASA. 2K digitization and restoration from the original negative by Eclair, color-grading supervised by cinematographer Willy Kurant. Sound restoration from the sound negative by L.E. Diapason. The film will be released in French theaters.
Indochine by Régis Wargnier (1992, 2h32, France) A presentation of Studiocanal. Digitization from the original negative and restoration frame by frame in 4K by L’Immagine Ritrovata.
Adieu Bonaparte by Youssef Chahine (1984, 1h55, France/Egypt) A presentation of the Cinémathèque française, Misr International Films and TF1 Droits Audiovisuels. A restoration of Misr International Films and TF1 Droits Audiovisuels carried out by the Cinémathèque française with the support of the CNC, of the Fonds Culturel Franco-Américain (DGA-MPA-SACEM-WGAW), of the Archives audiovisuelles de Monaco and the Association Youssef Chahine. The works have been made from the image negative and the sound magnetic tapes at Eclair and at L.E.Diapason studio.
Pit and The Pendulum by Roger Corman (1961, 1h20, USA) A presentation of Alta Vista Productions and MGM Studios/Park Circus. 35mm archival print made in conjunction with the Academy of Motion Picture Arts and Sciences and producer Jon Davison from the original negative at Fotokem Los Angeles with Mato DerAvanessian and supervised by Roger Corman. Damaged shots were restored digitally and re-cut into the film.
Rendez-vous de juillet by Jacques Becker (1949, 1h39, France) A 2K restoration presented by Gaumont. Image work made by Eclair, sound restored by L.E. Diapason with Eclair. The film will be released in French theaters and on DVD/Blu-ray.
Cannes Classics Special Screenings
Terrore nello spazio (Planet of the Vampires) (1965, 1h28, Italy/Spain) by Mario Bava A presentation by Fulvio Lucisano, Nicolas Winding Refn and CSC Cineteca Nazionale. The movie has been digitally restored from the original 35mm Kodak Eastman Color negative, courtesy of Italian International Film. The color correction via colorimetry comparison of an original 35mm positive copy courtesy of the Cineteca Nazionale was carried out under the supervision of assistant director Lamberto Bava. The digital intermediate process using 35mm Kodak polyester copies and 35mm color-positive copies by Fotocinema Roma in 2015.
Tiempo de morir by Arturo Ripstein (1966, 1h30, Mexico) A presentation by ALAMEDA FILMS and César Santos Galindo, Alain Carradore and Sidonis Calysta. A sélection by Claudia Bollain y Goytia Alba and Michel Rocher. The film has been restored by ALAMEDA FILMS at LABOFILMS MEXICO under the supervision of Enrique Alagón, Adolfo Alagón and Gabriel Elvira at LABODIGITAL under the supervision of Charles Barthe. The film will be soon released in French theaters by Tamasa distribution and on video by Sidonis Calysta.
A few minutes ago the juries of the other festival sections in the Official Selection were announced and now we know who will decide the awards in Un Certain Regard, la Camera d’Or and the short films in competition and at the Cinéfondation.
The Jury is listed below each section plus have included a photograph with all the jurors.
—///— 4/25/16 A few minutes ago the jury of the selection competition was finally announced and well, yes the leaked list was right but missed quite a few names. Now the jury has become official and I’m very glad that Mads is going to be all over the festival, lol! Enjoy! —///— 4/23/16 The week closed with an unexpected announcement from Cannes fest organizers whom apparently waited to the last weekday to stir the interest from the security exercise that was all over the buzz channels. Among the most unexpected is the notice that Iggy Pop will be attending the screening of Gimme Danger, Jim Jarmusch’s film about him; film will be shown at a Midnight Screening on Thursday May 19.
The most incredibly good news come from one more film to the competition by none other than Asghar Farhadi, a director that have been following since I discover and was mesmerized by Chaharshanbe-soori (Fireworks Wednesday).
In the Un Certain Regard section was announced that the film Eshtebak (Clash) by Mohamed Diab will be the Opening film plus there is a new movie in the selection by David Mackenzie, Hell or High Water. In the Special Screenings there are three new films by Jonathan Littell, Grégoire Leprince-Ringuet, and Karim Dridi. Also one more film to Midnight Screening that American press has called the “latest” Mel Gibson film directed by a French director, Jean-François Richet, better known as the director of the outstanding violent and beautiful-to-watch Mesrine Part 1 and Part 2.
Imagine that next week there will be the juries announcement and maybe even one more film to the competition. To read the announcement at the official site go here. All films have been added to the the list below.
—///— 4/14/16 After a short delay due to a peaceful demonstration, the much expected Cannes 2016 press conference started and some figures came to be known, 1,869 films were seen and only 49 made the official selection, which has 7 first films. Then Thierry Fremaux began to name film after film starting with the Out of Competition movies.
Believe there are no surprises and now when I’m writing this post think that perhaps among those not present in the official selection there are some surprises -or omissions; but many could make it to La Quinzaine, which is also Cannes! So let’s not get blue if your favorite film didn’t made it to what was announced today. But still, remarkable is the absence of Spanish-Language Latin American cinema, sigh.
My spontaneous reaction was of amazement when started to think who is going to walk the red carpet this year as there is a long list of outstanding actresses/filmmakers, like Juliette Binoche, Isabelle Huppert, Marion Cotillard (2 films), Catherine Deneuve, Léa Seydoux, Adèle Haenel, Kristen Stewart (2 films), Julia Roberts (her first time), Charlize Theron (again this year), Adèle Exarchopoulos, Golshifteh Farahani, Sonia Braga, Jodie Foster, plus add newcomer Lily-Rose Melody Depp (yes the daughter of the famous couple) and none other than Soko (2 films).
Most interesting is to learn that festival closing film will be the Palm d’Or winner for the first time, so in a way there will be no out-of-competition film screening after the awards ceremony.
Up-to-these moment there are 20 films in competition and there is always the possibility that one or more will be announced before the fest begins; as a matter of fact we know there will be a film from Panama but not sure if will go into the competition or any other section of the official selection.
Worth noting is that from the 20 films in competition there are 10 French films: 2 are 100% French production (Nicole Garcia and Alain Guiraudie), 3 are French Majority productions (Bruno Dumont, Paul Vehoeven and Olivier Assayas) and 5 are French Minority productions (Dardenne Brothers, Cristi Puiu, Ken Loach, Xavier Dolan, and Cristian Mungiu).
Post will be updated as soon as organizers announce new films and this is the list as was released today, April 14 plus the short films released yesterday. Yes, have read about all films and will post trailers, info, poster as soon as find them.
아가씨 Agassi (The Handmaiden), Park Chan-wook, South Korea American Honey, Andrea Arnold, UK Aquarius, Kleber Mendonça Filho, Brazil and France Baccalauréat (Family Photos), Cristian Mungiu, Romania, France and Belgium Elle, Paul Verhoeven, France and Germany Forushande (The Salesman), Asghar Farhadi, Iran and France La Fille Inconnue (The Unknown Girl), Jean-Pierre and Luc Dardene, Belgium and France Loving, Jeff Nichols, USA and UK I, Daniel Blake, Ken Loach, UK and France Julieta, Pedro Almodóvar, Spain Juste La Fin du Monde (It’s Only the End of the World), Xavier Dolan, Canada and France Ma Loute (Slack Bay), Bruno Dumont, France and Germany Mal de Pierres (From the Land of the Moon), Nicole Garcia, France Ma’Rosa, Brillante Mendoza, Philippines Paterson, Jim Jarmusch, USA Personal Shopper, Olivier Assayas, France, Germany, UK, Czech Republic and Belgium Rester Vertical (Staying Vertical), Alain Guiraudie, France Sierranevada, Cristi Puiu, Romania, France, Bosnia and Herzegovina, Croatia and Macedonia The Last Face, Sean Penn, USA The Neon Demon, Nicolas Winding Refn, Denmark, France and USA Toni Erdmann, Maren Ade, Germany and Austria
Out of Competition Opening Film: Café Society, Woody Allen, USA 곡성 Goksung (The Wailing), Na Hong-jin, South Korea Money Monster, Jodie Foster, USA The BFG, Steven Spielberg, USA, Canada and UK The Nice Guys, Shane Black, USA and UK
The Jury President: George Miller, director, writer and producer, Australia Arnaud Desplechin, director and writer, France László Nemes. director and writer, Hungary Valeria Golino, actress, director, writer and producer, Italy Mads Mikkelsen, actor, Denmark Vanessa Paradis, actress and singer, France Kirsten Dunst, actress, USA Donald Sutherland, actor, Canada Katayoon Shahabi, producer, Iran
Un Certain Regard
Opening Film: Eshtebak (Clash), Mohamed Diab, Egypt and France Apprentice, Boo Junfeng, Singapore, Germany and France (*) Câini (Dogs), Bogdan Mirica, Romania, France and Bulgaria Captain Fantastic, Matt Ross, USA 小风琴 Fuchi ni Tatsu (Harmonium), Kôji Fukada, Japan Hell or High Water, David Mackenzie, USA (*) Hymyilevä mies (The Happiest Day in the Life of Olli Mäki), Juho Kuosmanen, Finland (*) La Danseuse (The Dancer), Stéphanie Di Giusto, France (*) La Larga Noche de Francisco Sanctis (Francisco Sanctis’s Long Night), Francisco Márquez and Andrea Testa, Argentina (*) La Tortue Rouge (Red Turtle), Michael Dudok de Wit, France and Japan מעבר לגבעות וההרים Me’ever Laharim Vehagvaot (Beyond the Mountains and Hills), Eran Kolirin, Israel (*) עומאר שקסייה Omor Shakhsiya (Personal Affairs), Maha Haj, Israel Pericle il Nero, Stefano Mordini, Italy, Belgium and France (*) The Transfiguration, Michael O’Shea, USA Uchenik (The Student), Kirill Serebrennikov, Russia 海よりもまだ深く Umi yori mo mada fukaku (After the Storm), Hirokazu Koreeda, Japan Varoonegi (Inversion), Behnam Behzadi, Iran Voir du Pays (Stopover), Delphine and Muriel Coulin, France
Un Certain Regard Jury President: Marthe Keller, actress, Switzerland Céline Sallette, actress, France Ruben Östlund, director, Sweden Diego Luna, actor, director and producer, Mexico
Special Screenings Chouf, Karim Dridi, France Exil, Rithy Panh, France (documentary) Hissène Habré, une tragédie tchadienne (Hissiein Habre, A Chadian Tragedy), Mahamat-Saleh Haroun, Chad, Senegal and France La forêt de Quinconces, Grégoire Leprince-Ringuet, France La Mort de Louis XIV, Albert Serra, France Le Cancre, Paul Vecchiali, France L’Ultima Spiaggia (The Last Resort), Thanos Anastopoulus and Davide Del Degan, Italy, France and Greece Wrong Elements, Jonathan Littell, USA (documentary)
Midnight Screenings Blood Father, Jean-François Richet, USA 부산행 Busanhaeng (Train to Busan), Yeon Sang-Ho, South Korea Gimme Danger, Jim Jarmush, USA (documentary)
(*) First film, competes for the Camera d’Or
Camera d’Or Jury President: Catherine Corsini, director, Société des Réalisateurs de Films – SRF Jean Christophe Berjon, Syndicat Français de la Critique de Cinéma – SFCC Alexander Rodnyansk, producer Russia Isbelle Frilley, Fédération des Industries du Cinéma, de l’Audiovisuel et du Multimédia – FICAM Jean-Marie Dreujou, Association Française des directeurs de la photographie Cinématographique – AFC
Check available trailers and info for the Official Selection Competition, Out of Competition, Special Screenings and Midnight Screenings @MOC Check available trailers and info for Un Certain Regard @MOC
Short Films Competition
This year the selection committee received 5,008 short films -458 more than in 2015. The Competition comprises ten (10) films, mostly from Europe and Latin America, with one (1) representative from Asia and one (1) from Africa.
These films are all in the running for the 2016 Short Film Palme d’Or, to be awarded by Naomi Kawase, President of the Jury, at the official award ceremony of the 69th Festival de Cannes on May 22th .
4:15 P.M. Sfarsitul Lumii (4:15 P.M. The End of the World), Catalin Rotaru and Gabi Virginia Sarga, Romania, 15′ A moça que dançou com o diabo (The Girl who Danced with the Devil), João Paulo Miranda Maria, Brazil, 14′ Après Suzanne, Félix Moati, France, 15′ Dreamlands, Sara Dunlop, UK, 14′ Fight on a Swedish Beach, Simon Vahlne, Sweden 14′ Il Silenzio (The Silence), Farnoosh Samadi Frooshani and Ali Asgari, Italy, 15′ Imago, Raymund Gutierrez, Philippines, 15′ La Laine sur le dos, Lofti Achour, Tunisia and France, 15′ Madre (Mother), Simón Mesa Soto, Colombia, 14′ Timecode, Juanjo Giménez, Spain, 15″
To mark its 19th year, the Cinéfondation Selection has chosen eighteen (18) films (14 works of fiction and 4 animations), from among the 2,300 works submitted this year by film schools from all over the world. Fifteen countries from three continents are represented.
Seven of the films selected come from schools taking part for the first time, and it is also the first time that a film school from Bosnia and Herzegovina and one from Venezuela have seen one of their films reach the selection stage. More than half of this edition’s movies are directed by women, with 10 out of the 18 films selected.
The three Cinéfondation prizes will be awarded at a ceremony preceding the screening of the prize-winning films on Friday 20th May in the Buñuel Theater.
1 Kilogram, Park Young-ju, Korea, 29′, Korea National Universtity of Arts A nyalintás nesze (The Noise of Licking), Nadja Andrasev, Hungary, 9′, Moholy-Nagy University of Art and Design Ailleurs (Somewhere), Mélody Boulissière, France, 6′, École nationale supérieure des Arts Décoratifs Anna, Or Sinai, Israel, 24′, The Sam Spiegel Film & TV School Aram, Fereshteh Parnian, France, 17′, Université Lumière Lyon 2 Bei Wind und Wetter (Whatever the Weather), Remo Scherrer, Switzerland, 11′, Hochschule Luzern – Design & Kunst Business, Malena Vain, Argentina, 20′, Universidad del Cine Dobro (Fine), Marta Hernaiz Pidal, Bosnia and Herzegovina, 15′, film.factory Gabber Lover, Anna Cazenave Cambet, France, 13′, La Fémis Gudh (Nest), Saurav Rai, India, 28′, Satyajit Ray Film & TV Institute In the Hills, Hamid Ahmadi, UK, 21′, The London Film School La Culpa, Probablemente (The Guilt, Probably), Michael Labarca, Venezuela, 14′, Universidad de los Andes La Santa Che Dorme (The Sleeping Saint), Laura Samani, Italy, 19′, Centro Sperimentale di Cinematografia Las Razones del Mundo (The Reasons in the World), Ernesto Martínez Bucio, Mexico, 37′, Centro de Capacitación Cinematográfica Poubelle (Trash), Alexandre Gilmet, Belgium, 19′, INSAS Submarine, Mounia AKL, USA, 19′, Columbia University School of the Arts The Alan Dimension, Jac Clinch, UK, 8′, NFTS Toate fluviile curg în mare (All Rivers Run to the Sea), Alexandru Badea, Romania, 24′, UNATC “I. L. Caragiale”
Short Films and Cinéfondation Jury President: Naomi Kawase, director, Japan Marie-Josée Croze, actress, Canada and France Jean-Marie Larrieu, director, screenwriter, France Radu Muntean, director, screenwriter, Romania Santiago Loza, director, playwright, writer, Argentina
To check the Official Selection article go here and Short Films article at the official site go here. Already know there are some trailers so will post link to whatever info I find as soon as possible. Enjoy!The feast started ONE DAY earlier!!! Yay!
Check available trailers and info for Short Films in Competition and Cinéfondation @MOC
To check posters for films in all sections of the Official Selection go here.
Check the Press Conference video
With non-pleasant English translation voice over
—///— 4/13/16 To my huge surprise today festival organizers released an article with the short films that will compete for the top honors in the two sections, the Competition and the Cinéfondation! Will start post today but will be in-progress until tomorrow when the feature films will be announced at the press conference which seems will be at 11:00am local time (5am ET) and will stream live via the main social video sites; stream will also be at the festival official site here.
Have to comment that been noticing the great graphic design this year as seems a professional is combining the design elements (colors and graphics) to make the most interesting section presentations. Yesterday noticed the Short Films section use of graphics and this morning the most interesting combination for Cinéfondation and Short Films. Yes, is the one leading the post today, as tomorrow will change.
UPDATE: An error that was discovered with one of the reviews featuring incorrect text (Tomorrowland) has been corrected in the finished product. If anyone who already purchased a copy would like to talk replacement, please feel free to contact me.
Hey hey! Remember when I said I was going to publish me some eBooks collecting my earlier reviews and other articles? Well, the first one is now available through Lulu.com for just $4.00 US!
“MovieBob’s Reel Breakdown” is a collection of reviews NOT from Escape to The Movies (it’s complicated) but a specially-curated selection of criticism culled from my written Escapist columns, blogs originally posted here and transcripts from my independent video reviews – yes, including the PIXELS review. I’d call it a healthy, eclectic mix encompassing newer fare like JURASSIC WORLD and a “supplemental review” of INTERSTELLAR alongside “older” fare like FUNNY GAMES or BLUE IS THE WARMEST COLOR and infamous disasters like WINTER’S TALE and STONEWALL. All told, there’s about 60 total full-length reviews in here, each one preceded by an all-new exclusive introduction offering context and my current thoughts on the piece.
You’ll note that the cover indicates that this is the first book in the “MovieBob Anthology;” and indeed 5-6 more volumes are coming soon. Titles are still pending, but subjects could (tentatively) include Classic Reviews, Video Games, Geek Culture, Hollywood History/Business, TV Commentary/Reviews and Superheroes.
It should be available in Kindle, Kobo, Nook and iBooks formats soon enough, but for now it’s being sold on Lulu – and I recommend you pick it up from them 🙂 FWIW, this is my first crack and independent self-publishing these things, so any feedback would be appreciated.
I’m collecting the best of my previously-published work in a series of themed eBooks as “The MovieBob Anthology,” and the newest volume, “MOVIEBOB’S REEL RETRO” – a collection of my reviews and articles about classic, obscure, overlooked or even forgotten older films – is the newest one to reach completion. You can buy a copy in .epub format (compatible with most e-readers) from Lulu HERE for the low price of only $4.00 US.
The other volumes (previously posted about) include the following; all priced the same and in roughly the same layout (i.e. with “MovieBob’s” preceding the individual titles):
REEL BREAKDOWN: Reviews of new (at the time of publication) theatrical films. Includes the transcript of the PIXELS review.
IDIOT BOX: Columns, reviews and blogs about new and classic television. Includes pieces on THE SIMPSONS, SOUTH PARK, MARRIED WITH CHILDREN, Bill Cosby, Stephen Colbert and the original TRANSFORMERS and REAL GHOSTBUSTERS series. SUPERHERO CINEMA: Writing from various sources about comics, superheroes, comic-book movies and comic culture in general. Includes retrospectives of the animated and live-action Marvel TV productions of the 60s through the 2000s. STRANGE HOLLYWOOD: Columns and articles on movie culture, the film industry and Hollywood history.
GEEK STREAK: Writings on the subject of “geek culture.” Includes the “Re-Tales” series from the old Intermission column, “Bat-Mitt vs Obamavengers” and “The 50 Most Boring Opinions in Geek Culture.”
The final volume, which will be published within the next few days barring unforeseen delays, will collect video game writing – including a selection of transcripts from classic Game OverThinker episodes. So stayed tuned for that 🙂
NOTE: Production of The MovieBob Anthology was made possible in large part through fans and readers’ continuing support of The MovieBob Patreon. If you like what you’re seeing here and would like to see more of it, please consider becoming a Patron.
Another week, another “just fine” Season 3 episode that makes for a good watch but continues to feel like we’re running out of time to arrive somewhere more interesting by the finale, with the broader Inhumans storyline once again being waylaid for a chance at using the surprise-superpower gimmick as a way to get back into the monster of the week business that made so much of Season 1 so tiresome. Still, the idea this time is a novel one and the episode itself has some above-average direction, so call it a win.
Anyway… The “Inhuman of The Week” this time around is a homeless guy with a variation on the DEAD ZONE power: He touches you, and you both get a premonition of witnessing someone’s death. That feels a little bit specific, sure, but trying reasoning out how Peter Parker got only those specific vague abilities of a spider sometime – spider’s don’t even have a “sense,” they know what’s coming because they’ve got lots of eyes and crazy-sensitive body hair.
But whatever. Circumstances contrive that Daisy and company show up to try and stop HYDRA from collecting the guy, only to not simply lose him to the bad guys but for Daisy to get hit with a premonition that appears to depict (among other things) Lincoln getting a beat-down, Fitz/Simmons standing inexplicably in a snowfall, Coulson shooting her – possibly to death – and May somehow not being involved in any of this.
This sets up the interesting part of the episode, wherein the Agents try to change the future by using Daisy’s vision to pre-plan their strategy (up to an including leaving the should-be participants off the mission entirely) while Fitz argues that it’s impossible by way of fourth-dimensional thinking. It’s a time-killer, as the first half of “change the future” stories often are (no prizes for guessing that May ends up not going after all because Lash business comes up) but the execution is charming in that low-tech AGENTS OF S.H.I.E.L.D. kind of way and it does set up a nifty-looking one-take fight scene for Chloe Bennett.
Also, a “of the week” stories go, the situation for the homeless Inhuman is pretty affecting: A suburban dad whose life has been completely ruined by his ability and is running away from accidentally giving his loved ones (or anyone) unwanted death-visions. For a change, it even makes sense for HYDRA to be spending resources to acquire him, since Hive/Ward finds an immediate practical use for his powers – and the fact that a final touch from Daisy gives her a slightly longer vision of the “bloody spaceship” dream from the beginning of this half of the season certainly makes things (theoretically) interesting.
The B-story, though (C-story is May and Andrew finally having it out as he prepares to transform into Lash for what he’s pretty sure will be the last time) is sort of a snooze: Hive/Ward makes Mallick buy a company that makes powered-armor, mostly so we can get fun scenes of Powers Boothe throwing people and things around wearing what sort-of looks like a 90s X-Files prop; but it very clearly all about setting things up for Mallick (who got a death-vision of his own) to have a “What have I done?” moment between now and the finale. Also, everyone is now on the same page re: “Hive is running HYDRA and looks like Ward now,” so that should speed things along.
One thing to note: The TERMINATOR exchange between Lincoln and Coulson (“I’ve actually never seen the original.” “…You’re fired.”) was cute, and it’s interesting to see two episodes in a row based on establishing rapport between these two characters. Yes, the writers seem to be in “try out new pairings” mode lately (see also: May and Simmons, sure to be exacerbated now that Lash is on ice and the “cure” might be a thing.)
NEXT WEEK: Somehow, Daniel Whitehall is back for “Paradise Lost,” which is also supposedly going to give us some backstory on Mallick presumably related to whatever he saw in his vision. It also looks like we’ll get a look at what Hive “really” looks like, so put me down for hoping for another big rubbery monster to wrestle with Lash at some point.
In the wake of some much needed diversion from formula in last week’s offbeat future-seeing episode, “Paradise Lost” gets us back to AGENTS OF S.H.I.E.L.D. Classic Recipe: a lot of low-tech-playing-high-tech diversions with the promise of later payoffs, capped off by a last-minute swerve and (for good measure) someone slamming their fist on the big red button marked Major Plot Point with enough flourish to almost make it feel like an earned moment as opposed to “Hey! The writers have just been informed of how CIVIL WAR shakes out.” Spoilers after the jump… To recap: Everyone is finally on the same page re: Hive, the ancient Inhuman HYDRA apparently worships as a god is on Earth wearing a Grant Ward skinsuit and building an ill-defined evil scheme involving his fellow Inhumans, but now things are complicated further by good guy Daisy and bad guy Gideon Malick both having experienced flash-forwards involving death last episode.
For a change, the main story this time is mainly about developing the villains; as we learn Hive’s back story (short version: he was the Mark I Inhumans’ General Zod, a genetically-engineered military mastermind who led the Inhuman rebellion against the Kree but then went mad with power and got himself exiled offworld) and get some background on Malick and HYDRA – though fans hoping that it might make AGENTS’ conception of the secret supervillain society make more sense are out of luck. But, then again, if “make more sense” is really high on your list of priorities for AGENTS OF S.H.I.E.L.D., chances are you checked out of Season 3 awhile ago.
We here learn (courtesy flashbacks to a college age Gideon and his brother uneasily taking the reigns of the family business after the death of their father) that while all of HYDRA is aware of their Hive-worshipper origins, not everyone is still fully onboard. The Mallicks belong to the old school “draw lots to see who gets sacrificed to Hive” sect, while Red Skull and Daniel Whitehall’s Nazi-aligned faction were less devout about it and who knows what the S.H.I.E.L.D-infiltrating cats were on about. With a little extra push, this would all be a brilliant satire of how monumentally stupid the entire Illuminati/Bilderberger/Rothschild/Trilateral/”Bankster” globalist-conspiracy theory bullshit is when you lay it all out; but sadly AGENTS’ usually admirable resistance to self-parody won’t quite let it.
In any case: We glean this as Mallick, while waiting for HYDRA bigwigs to arrive for a fancy dinner in Hive’s honor at his estate (while also scheming to avoid a prophecized death he believes will occur at his god’s hands) recalls how Whitehall tempted he and his brother being tempted to the dark(er?) side by Whitehall, who reveals that Papa Mallick rose to power by gaming his participation in the lot-drawing ceremonies with a marked stone. The brothers resolved to reclaim the family honor by holding a fair-and-square drawing, and if you’re noticing that this is the first time we’ve ever heard that Mallick had a brother you know where that’s going.
Fortunately, most of that predictability pays off decently in terms of what however much of the other Mallick remains in Hive thinks of as karmic payback, and the whole thing has an appropriately lurid “70s pulp-Satanism” vibe; but there’s no avoiding that AGENTS OF S.H.I.E.L.D. has fallen too much in love with its own penchant for misdirection: We can see it coming by now.
Elsewhere, the B-story is all about Coulson and the non-Inhuman Agents breaking into a factory acquired by Mallick in order to set up either the cause or solution to whatever Hive’s big plan is. Finally getting to see Coulson start to lose it at the revelation that not only was murdering Ward against his own code but the direct cause of Hive being able to reach Earth is nice; but otherwise it’s a bit of a snooze. Even the promised one-on-one fight between May and Giyera (Mark Dacascos) feels obligatory – c’mom guys! Dacascos and Ming-Na Wen are both legit icons of B-movie action, this is (literally!) Chun-Li vs Billy Lee… have some fun with it!
But whatever. The whole thing is really only happening so Giyera can be captured, taken back to S.H.I.E.L.D. HQ and escape, leaving the conveniently off-site Daisy and Lincoln to decide that *NOW* is the time to call in the Secret Warriors reserve-troops… as opposed to the several other times where the stakes have been at exactly the same height. The problem is, while Dacascos has screen-presence to burn, the show has been too indecisive about Giyera’s role for him to suddenly be an all-stops threat now; so it all feels too obvious that the only real reason for the Warriors to go into action now is because AGENTS’ needs a team of powered-pepole to show up and have their actions be misunderstood so that the plot can sort-of sync up with CIVIL WAR.
Amusingly, the C-story that serves to keep Daisy and Pikachu safe enough to push the Plot Button is actually more interesting: They go to seek out an Inhuman survivalist in Australia who once burgled information about Hive’s back story from Afterlife, but the hook is that he’s one of the Inhumans from whom Jaiying ultimately denied Terrigenisis because… he’s a douchebag, I think? It sets up a novel bit of conflict where Lincoln baits him with Terrigen in order to grab a mysterious orb-like relic he’d stolen from Jaiying, but ultimately refuses him powers because he agrees with whatever their ex-leader’s reasoning was. It’s here that we get more information about Lincoln: He caused his girlfriend’s death in a drunk driving accident shortly before The Inhumans found him.
This all feels like so much further setup for Daisy and Lincoln to be on opposite sides when AGENTS OF S.H.I.E.L.D’s version of the CIVIL WAR schism hits; but it plays out a lot more naturally than he Giyera story and I hope Australian Guy is a recurring character – especially if he turns out to be C-list SPIDER-MAN nemesis “The Kangaroo,” whose power set includes jumping very high and being from Australia.
As for the orb? No idea. It looks like something halfway relates to the Infinity Stone vessel from GUARDIANS OF THE GALAXY but covered with designs that look more than a little DOCTOR STRANGE-y; but at this point the safest bet is that they hadn’t fully committed to what it is or does when they (the show) designed it, so it looks like a lot of things to cover all bases.
NEXT WEEK: In “The Team,” The Secret Warriors get their buildup over with, at last, and someone turns out to be bad maybe. Personally, I’m hoping for Sexy Evil Simmons Who’s Been Part Hive All Along; if only to spare us the predictable arc of Fitz and Simmons being on opposite sides of CIVIL WAR LITE:
ALSO: The show loves the hell out of Hive reducing his victims to skeletons, and Mallick’s vision only shows him being partially zapped, so I’m renewing my old guess that he somehow winds up as Red Skull 2.0