Diane Kruger
Competition juror Sienna Miller
American actress Jane Fonda
Russian model Natasha Poly
Chinese actress Li Bingbing
Un Certain Regard Jury president Isabella Rossellini
Competition jurors Xavier Dolan, Sienna Miller, and Jake Gyllenhaal
Eva Longoria
Salma Hayek
Natalie Portman
Red carpet shots
from The Hollywood Reporter:
http://www.hollywoodreporter.com/gallery/cannes-2015-red-carpet-arrivals-795394/1-emma-stone
http://www.hollywoodreporter.com/gallery/cannes-2015-red-carpet-arrivals-795394/1-emma-stone
A collection of pieces from The Hollywood Reporter:
http://www.hollywoodreporter.com/package/cannes-style
Red carpet photos from PopSugar:
Best dressed from Vanity Fair:
Cannes photos from The Telegraph:
A French site that
lists daily galleries of red carpet photos:
Photo gallery from The
Daily Mail:
also vintage earlier looks of 18-year old model Charlize
Theron:
Celebrities arrive for the 2015 Cannes Film Festival, from The NY Daily News:
Vogue guide to
Cannes:
http://www.vogue.co.uk/spy/celebrity-photos/2015/05/13/cannes-film-festival-2015
Also here
Elle fashion
photos:
http://www.elleuk.com/fashion/celebrity-style/the-cannes-film-festival-2015-celebrity-red-carpet
Photo Gallery from E-Online:
Los Angeles Times
gallery photos:
Fashionista blog:
Daily list of best dressed at Cannes from Blouin Art Info:
Best Cannes festival dresses of all time, from Marie Claire:
Best and Worst fashion choices from International Business Times:
http://www.ibtimes.com/cannes-2015-red-carpet-photos-best-worst-fashion-film-festival-so-far-1924787
Most Memorable Moments ever at Cannes from The Huffington Post:
Also the most iconic moments at Cannes from The Huffington Post:
also seen here:
and still more here:
Harper’s Bazaar at
Cannes:
Hollywood Life
photo gallery:
Another large
gallery of photos:
People magazine
hits the Cannes red carpet:
while also performing a running behind-the-scenes diary
style:
http://stylenews.peoplestylewatch.com/2015/05/14/cannes-film-festival-2015-behind-the-scenes-people/
The 10 most
controversial Cannes winners, Joshua Rothkopf and David Ehrlich from Time Out New York, May 13, 2015
http://www.timeout.com/newyork/movies/the-10-most-controversial-cannes-winners
http://www.timeout.com/newyork/movies/the-10-most-controversial-cannes-winners
There really isn’t anything quite like the Cannes Film
Festival. Each May,
the movie world collapses on the French Riviera for a fortnight that feels like
a cross between film school and a James
Bond movie. The parties are on yachts, the critics are in tuxedos, and the
most revered auteurs from every corner of the map premiere their latest works
amid a flashing mob of paparazzi. It’s a perfect storm of high art and low
culture, and—for better or worse—it makes for viewing conditions unlike those
of any fest. Sometimes that means epic standing ovations, and sometimes that
means people standing up and denouncing a major director as soon as the credits
roll. It’s no surprise that Cannes has seen more brouhahas, dust-ups and
finger-wagging than any other festival
on Earth, and the biggest shockers of all are often saved for the awards
ceremony on closing night. As this year’s edition kicks off, we take a look at
the 10 most controversial winners in the history of the fest.
La Dolce Vita (1960)
Today considered one of the best films of all time, Federico
Fellini’s magnum opus was probably destined for the Palme d’Or regardless of
the shenanigans surrounding its Cannes premiere. Still didn’t hurt when the
Catholic Church denounced the movie for its loose morals and subversive
attitude, thus making La Dolce Vita
the hittest ticket on the Croisette.
L’Avventura (1960)
Even the most adventurous film audiences in the world would
have been known to recoil when confronted with something genuinely new. When
this Michelangelo Antonioni classic ─ an existential epic about a woman who
disappears from a bourgeois boat trip ─ premiered at Cannes, it was jeered so
forcefully that the director and star Monica Vitti had to flee the theater. The
film would later be given a special award for “the beauty of its images, and
for seeking to create a new film language.”
Taxi Driver (1976)
Now it seems like an example of a jury doing its job
perfectly right ─ awarding Martin Scorsese’s powder keg the Palme d’Or. But the
boos at the screening were vociferous, and even jury chair Tennessee Williams
held the movie at a distasteful arm’s length, telling reporters, “Films should
not take a voluptuous pleasure in spilling blood.” The ultimate gangsta
response: Scorsese wasn’t even in town to accept his prize.
L’Argent (1983)
Robert Bresson is among cinema’s most towering titans, but
that didn’t stop Cannes audiences from booing the premiere of his final film,
an accusatory but incredible ensemble drama about the fallout from a few counterfeit
bills. Orson Welles’s jury recognized L’Argent
as the real deal, and allowed Bresson to split the directing prize with an
undeserving upstart by the name of Andrei Tarkovsky.
Sex, Lies, and
Videotape (1989)
Steven Soderbergh’s breakthrough had a glorious premiere at
Sundance, winning the Audience Award, then went on to Cannes, whee it took the
Palme d’Or and the FIPRESCI Prize. Honestly, no one complained that vigorously ─
except for Spike Lee, who clearly felt Do
the Right Thing was worthier. He wanted to take out his aggression on jury
president Wim Wenders, who notoriously called the character of Mookie “unheroic.”
Wild at Heart (1990)
Only a month after his pilot episode for his breakthrough
show Twin Peaks aired, director David
Lynch captured the Palme d”or for this lurid crime fantasia. Not all were
pleased with the riding-high filmmaker: The cememony’s announcement was drowned
out by the boos, the loudest from Roger Ebert. Lynch would have his revenge on
the critic in 1997, using Ebert’s thumbs-down
review for Lost Highway in the
advertising itself, as an unwitting endorsement of quality.
Pulp Fiction (1994)
A worthy Palme d’Or winner, right? Well, allow Cannes to
retort: The first midnight screening was a sensation, but by the time Quentin
Tarantino had claimed the fest’s highest prize, a critical backlash was already
in force. The director accepted his award to jeers, possibly launched by those
who felt that Krzysztof Kieślowski’s Three
Colors: Red ─ the culmination of his trilogy ─ should have prevailed.
Crash (1996)
David Cronenberg’s aggressively unpleasant drama about car
fetishists found itself swept to the podium in an unlikely way: Though nominated
for Cannes biggest award, the Palme d’Or, it instead won a Special Jury Prize. The
waves of shock on the Croisette were palpable, especially from traumatized
viewers who shrieked at the film’s pervy sex scenes (and not in a good way).
Farenheit 9/11 (2004)
Despite the fact that Michael Moore’s inflammatory anti-Bush
screed earned a 20-minute standing ovation at its Cannes premiere (one of the
longest in the festival’s history), Quentin Tarantino and his jury’s decision
to award the doc the Palme d’Or was seen by some as a provocative political statement.
“What have you done?” Moore asked when receiving his prize. At the height of an
election year, it was as if the film world had cast its vote in public.
Blue Is the Warmest
Color (2013)
Abdellatif Kechiche’s steamy lesbian drama gave Cannes
audiences the vapors, but its path to the Palme was complicated by reports that
the director had heinously mistreated his crew, and accusations fromcritics
like The New York Times’ Manohla
Dargis that the movie “registers as more about Mr. Kechiche’s desires than
anything else.” The day after its festival win, the author of the graphic novel
on which the film is based denounced the adaptation as “porn.”
What really happens at
the Cannes Film Festival, by Paul Byrnes from The Sydney Morning Herald, May 17, 2015
By the time you read this, I will be up to my bow tie
in glamour at the Cannes Film Festival. I will be moving through an endless
parade of glittering parties, on to intimate rooms where the stars entertain by
invitation only, drinking Krug and scoffing caviar with Harvey and Brad and
maybe George, whoever is in town. It will be so glamorous I can hardly stand
it, but someone's got to do it.
What a lovely dream. The reality is somewhat different.
The alarm screeches three hours after I have gone to bed. I am late. I haul
bottom down the kilometre between my outrageously overpriced accommodation and
the palais, the big white festival centre, to arrive half an hour before the
first press screening, because if I don't get there early, I will be sitting in
the nosebleeds. I may have to queue but the 8.30am screening is the most
civilised of the day. The later ones will be more Darwinian, as each of the
4000 accredited reptiles (hacks is too nice a word) tries to convince
the camp guards – sorry, the festival security staff – that they do,
indeed, have the correct pass to go quickly into the sacred halls, through the
holy metal detectors.
Between screenings, I might go to a press conference for a
film in competition, but these clash with screenings, making it harder to see
all the films. And I can watch the press conferences later online. Frankly, it is
sometimes too painful to attend, when the questions are along the lines of
"What was it like to work with Brad Pitt?" and "Do you like
doing love scenes?" Do I get to see stars? Yes, but they are often
wincing. It is hard to get press accreditation to the Cannes
Film Festival, but not hard enough, if you get my drift.
There are usually 24 films in competition – ostensibly
the best of the best. In fact, half of them will be soon forgotten, or never
heard of. That's because Cannes is foremost a French film festival, meaning
that when the government puts up most of the money, French films get a
disproportionate number of the slots – or proportionate, if you
consider the golden rule (as in: he that pays the money makes the rules).
Many of the films in competition will have French money in them, even if
they are not quite French. C'est la vie.
Being in competition can be a mixed blessing. It's very
prestigious, but only until the film has screened. At that point, if the senior
critics don't like it, it becomes a disaster. That's what happened last year to
Grace of Monaco, the French film that
opened the festival. If you were watching TV, you would have seen a gorgeous
Nicole Kidman parading on the red carpet, smiling for 500 cameras. This is
"job done", in one sense. Those pictures will reach every corner of
the world and establish the film's title, and Nicole's role in it, in the
public mind. The bad reviews would have dented the paintwork but no review can
compete with the power of the red carpet. Cannes delivers sizzle, not sausage.
I guarantee that almost every TV report you see from Cannes will begin with
scenes from the red carpet. That's the currency.
The senior critics hunt in packs, to some extent. You might
expect that the critics from The New York
Times, The Guardian and Le Monde
would be at the apex of the pyramid. Not so. They are powerful, but Cannes is
all about the money, and the money reads the trades. So The Hollywood Reporter, Variety and Screen (the British trade paper) all put out daily papers during
Cannes, trying to beat each other with the most news, the best reviews, the
latest gossip. After each competition screening, the two or three senior
reviewers for these organs will decide the line. I do not mean that they decide
together. Au contraire. Each reviewer will disappear to compose his (or
occasionally her) response and get it out as quickly as possible on the web.
If it's a big negative, as with Grace of Monaco, the reviewers will compete to demolish it, like
sharks. That's natural: if you promise the world and don't deliver, you will be
eaten. Every critic at Cannes will read those damning words and react, one way
or the other. Some go with the herd, some rise to the defence, some walk the
line, knowing that editors at home are reading the same early reviews. Within
24 hours, the film will be sailing or sinking. And those reviews have a direct
impact on whether it will be selling, down in the bowels of the Palais, where
all the deals are done by 8000 worker bees in the market.
That's the real heart of Cannes, not the red carpet. It's a
trade show masquerading as a beauty pageant – the best ever invented. And
that's why what those trade reviewers write has a big impact on what you get to
see in your cinema. Think of it this way: not everyone comes to Cannes, but
Cannes comes to everyone, one way or another. And yes, George, another dirty
martini would be lovely. Ta, Cloonesy.
Rooney Mara
Cate Blanchett
Rooney Mara and Cate Blanchett grabbing the butt of director Todd Haynes
Todd Haynes' 'Carol'
Starring Cate Blanchett & Rooney Mara, by Jessica Kiang from Hit Fix, May 16, 2016
http://blogs.indiewire.com/theplaylist/cannes-review-todd-haynes-carol-starring-cate-blanchett-and-rooney-mara-20150516
Made of crystal and suppressed tears, shot eternally through
windows and mirrors and half-closed doors, Todd
Haynes' "Carol" is a love story that starts at a trickle, swells
gradually to a torrent, and finally bursts the banks of your heart. A beautiful
film in every way, immaculately made, and featuring two pristine actresses
glowing across rooms and tousled bedclothes at each other like beacons of
tentative, unspoken hope, the film is based on a novel by "The Talented Mr Ripley" and "Strangers on a Train"'s Patricia Highsmith. But
"Carol" is not those stories, nor their filmic adaptations. It is not
dark and it is not cutting, instead it is an aching, pining film that layers
the simplicity of this love affair with such strata of feeling that the story
eventually becomes the essence of every affair ever, gay or straight, in which
true, luminous love has been denied by circumstance.
In one of the burning unbroken glances that Haynes favors
throughout, Carol Aird (Cate Blanchett)
and Therese Bellivet (Rooney Mara)
find their eyes meeting across the department store floor where Therese works.
Carol, swooping in with an almost predatory air of sexual allure, and the kind
of sophistication that would be irresistible to a callow, curious younger
woman, leaves her gloves. Therese returns them, and thus a social obligation is
established by which they can meet. Therese resists the idea that she is in
love with Carol for a time (but seriously, Blanchett, in this form, with those Sandy Powell clothes, her hair and
makeup, how could you not be?), while Carol, en route to a divorce from her
bewildered, resentful husband Harge, who still wants her back, lavishes gifts
and lunches on the dazzled shopgirl. When they finally steal away on a trip
together, it transpires that the "against the grain" nature of
Carol's love life could become a bargaining chip in the divorce, which might
grant Harge sole custody of her beloved daughter Rindy.
So far, so wildly melodrama-weepie, yet somehow, Haynes'
restraint makes the story feel less hormonal and hysterical than that would
suggest, and more timeless and universal. In this he's abetted by Edward Lachman's fantastic
compositions, so often putting the people in separate frames within the frame,
or shooting those remarkable faces (the film is a symphony of cheekbones)
behind windows or other reflective/transparent surfaces. Special note must also
go to Carter Burwell's wonderful
score, to Randall Poster's choice
soundtrack cuts, and to the moment at which the score and a radio song conflate
during one dreamy sequence speeding through a tunnel and the result is peculiar
and sublime.
This is, of course, not Haynes' first foray in the
mid-century-set period drama — his last project, the HBO miniseries "Mildred Pierce," also fits that bill. But the parallels
are actually closer with Haynes' great homage to Sirkian melodrama, "Far
From Heaven," easily a complementary film to "Carol" in its
portrayal of a woman stifled by 1950s mores, trapped in a marriage made a lie
by homosexuality, who seeks out a potentially ruinous affair with a lover
society cannot sanction. As much as we adore "Far From Heaven," there
is an archness to it that "Carol" feels like it has moved beyond, as
though having experimented with that format, Haynes has taken similar material,
and with help from Phyllis Nagy's
excellent, understated script, drained it of even the hint of lurid excess or
heightened pitch. And so, "Carol" is transgressive because it is not
formally transgressive at all. Instead, it is the most sumptuous, classical
star cross'd lovers romance — a "Juliet and Juliet"
story — in which the central love affair is presented just as
legitimately as those that dotted the Hollywood films of the Golden Era
(films that historians refer to as "machines for the creation of the
heterosexual couple").
But if Haynes is referring less directly to Sirk and Wyler here, his love of the films of
that era slips through in other ways, both overt ("Sunset Boulevard" plays within the film at one point)
and inferred, like how Blanchett gets a truly Greta Garbo moment with a phone receiver, or how an insensitively
timed interruption by an old friend is played exactly like a similar moment
from "Brief Encounter."
Haynes has co-opted the language of heterosexual Hollywood wholesale, set it in
service of a nominally gay story, and the result is swooningly romantic,
whatever your sexual orientation.
There is a lot more going on in "Carol" than the
love story, or rather that the love story is not only about its two exothermic
participants. Kyle Chandler, as
Carol's husband Harge, is remarkably solid in an unforgiving role, and Sarah Paulson as Abby, the childhood
friend and Carol's ex-lover, again makes us wonder just why it is that we only
ever see her in supporting roles. But you cannot take this film away from its
two leads, who beneath the sparse dialogue seem to be ever communicating in a
language of looks and gestures and sideways glances, a secret lovers' morse
code blinking out between them like the light at the end of Daisy's pier. Mara
is the revelation, investing Therese with a very gentle witchiness that makes
Carol's description of her as "flung out of space" all the more
appropriate: she is a little bit of an alien. Blanchett is stunning, going from
a magnificent creature of secret smiles and sly winks, to a less lustered,
ground-down version in a subtle but heartrending evocation of a woman trying to
suppress her most vital instincts. "Carol" is a love story for the
ages, a film you feel like you may be walking toward, like Therese does at one
point, entranced and lovelorn, forever. [A]
More reviews from Barbara Scharres from the Ebert site
http://www.rogerebert.com/cannes/cannes-2015-carol-nahid
http://www.rogerebert.com/cannes/cannes-2015-carol-nahid
Eric Kohn from indieWIRE
http://www.indiewire.com/article/cannes-review-todd-haynes-carol-is-a-masterful-lesbian-romance-starring-cate-blanchett-and-rooney-mara-20150516
http://www.indiewire.com/article/cannes-review-todd-haynes-carol-is-a-masterful-lesbian-romance-starring-cate-blanchett-and-rooney-mara-20150516
Justin Chang from
Variety
http://variety.com/2015/film/festivals/cannes-film-review-cate-blanchett-in-carol-1201498667/
http://variety.com/2015/film/festivals/cannes-film-review-cate-blanchett-in-carol-1201498667/
Todd McCarthy from The
Hollywood Reporter
http://www.hollywoodreporter.com/review/cate-blanchett-carol-cannes-review-796213
http://www.hollywoodreporter.com/review/cate-blanchett-carol-cannes-review-796213
Peter Bradshaw from The
Guardian
http://www.theguardian.com/film/2015/may/16/carol-review-cate-blanchett-captivates-in-woozily-obsessive-lesbian-romance
http://www.theguardian.com/film/2015/may/16/carol-review-cate-blanchett-captivates-in-woozily-obsessive-lesbian-romance
So far, the highest rated film at Cannes (according to http://cannes-rurban.rhcloud.com/index.pl/2015)
comes from the Director’s Fortnight, where the first of a 3-part trilogy from
Portuguese director Miguel Gomes has been screened,‘Arabian Nights: Volume 1, The Restless One,’ review provided by
Jay Weissberg from Variety, May 16,
2015
The number of films dealing head-on with the global economic
crisis have been shockingly few, leaving the field wide open for someone with
the creative complexity and storytelling verve of Miguel Gomes, whose three-part
“Arabian Nights” tackles the subject with characteristic imagination and,
unsurprisingly, righteous anger. While too early to tell how the trio of pics
hang together, it’s possible to say from “Arabian Nights: Volume 1,
The Restless One,” that
audiences are in for a meaty opus that weaves actuality and allegorical
fantasy into an outraged portrait of European austerity, witch doctors,
the Portuguese politicos at their beck and call, and, most importantly, the
unemployed masses. The project’s commercial viability is less clear, though art
houses will certainly find space.
It’s likely the films need to be released together, since
clearly from the first entry they’re meant to be screened within a short period
of time; weekends may be ideal, as the entire project clocks in at 381
minutes. The big question mark is: Will “Arabian Nights” transcend the helmer’s
devoted fanbase to reach a wider audience? Given its sheer length, the answer
is probably no, although the subject matter could beckon activists and legions
of disaffected citizens furious at how the IMF and the World Bank seem deaf to
the economic misery around them (in all honesty, however, the latter aren’t
known for plunking down coinage for arty fare with multiple narratives).
Gomes’ devotees will delight in how “Arabian Nights” takes
structural elements from “Our Beloved Month of August” as well as “Tabu” and
stretches them even further: Using Scheherazade as the thread to bring together
so many tales was a splendid move, allowing for all sorts of nonfiction and fiction
stories to be woven together in a tapestry of frustration, melancholy and
burlesque. Choosing Apichatpong Weerasethakul’s regular d.p. Sayombhu
Mukdeeprom to lense the opus further cements Gomes’ reputation among his
auteurist followers (though visual similarities are few).
Shot between 2013 and 2014, the pic stems from Gomes’
anguish at watching Portuguese society crumble under the outrageously heavy
austerity burden imposed by European financial institutions. The director
himself is seen early on running away from the film crew,
his depression too much for the grand project he’s envisioned. Already we hear
in voiceover men speaking of massive layoffs at the shipyards of Viana do
Castelo, and this interchange between real people telling of their lives,
alternating with fanciful storylines and outright satire, continues throughout
Volume 1.
It appears Gomes himself, at least at the start, wasn’t sure
how everything could fall into place. Intercutting the laid-off shipyard
workers with discussions of a plague of wasps devastating the country’s
beehives, he admits (perhaps disingenuously) that he doesn’t know how they
connect, but he knows they must. Auds even marginally aware of Portugal’s
economic plight can deduce that the wasps are like the European financial
bodies, destroying indigenous industry.
From there he introduces Scheherazade (Crista Alfaiate), the
classic storyteller who keeps one step ahead of her husband the sultan’s
murderous impulses by telling a different tale each night, making him so eager
to hear more that he allows her to live another day. Her first story (told on
the 447th night) is the most outright satirical: “The Men With Hard-Ons.”
Here, European bigwigs arrive on camels to tell Portuguese politicians they
need to cut public expenditure by a ridiculous amount. On a stroll following an
unhappy lunch, the group meets a wizard (Basirou Diallo) who offers them an
aerosol spray that guarantees enormous, long-lasting hard-ons. Thrilled with
their newfound prowess, the men relax their stranglehold on the nation’s
economy, only to tighten it again when they discover that permanent erections
have their disadvantages.
Next comes “The Story of the Cockerel and the Fire,”
inspired by the true tale of Fernanda Loureiro, who was taken to court because
her rooster disturbed one of her neighbors. The cockerel itself, in voiceover,
explains that it crows to warn people of coming danger, like a fire that
devastates nearby fields — clearly, some people don’t wish to be informed
of what’s coming. The last of the stories in “Volume 1″ concerns three
“Magnificents” (actually two men and one couple) who speak of their
helplessness and anger in the face of unemployment. Gomes combines this with a
Jonah-like tale, furthering biblical parallels that occasionally pepper the
proceedings.
At times it appears the director gets subsumed by wanting to
fit in too much, so a truncated story of a Chinese emperor goes nowhere (could
it reappear in the other volumes?), and a scene with Austrian schoolkids,
connected to the “Hard-On” episode, feels a bit dangly. Obviously it’s hard to
fully judge “Arabian Nights” from one installment, yet without question, Gomes
furthers his Bunuelian bona fides with biting allegories of capitalism run
rampant. He may have started as a “helpless, paralyzed director,” as claimed
early on, but he discovered how to channel his anger into a series of tales
that balance real voices of economic hardship with parables on both the
destructiveness of blind, deaf economic theory and the ineptitude of local
politicians who agree to excessive demands.
Widescreen lensing on 16mm gives the satisfying tactility of
much of Gomes’ previous work, allowing for a richer palette in some of the
tales yet maintaining a sobriety in keeping with the quasi-documentary
elements. Music is a sweeping, powerfully used melange, moving from
Rimsky-Korsakov to Arvo Part.
* * * *
Cannes critics ratings, a composite of 7 different critic scores, where some of the
highest ratings might surprise you: http://cannes-rurban.rhcloud.com/index.pl/2015
The Cannes Criterion Forum is up and running:
http://www.criterionforum.org/forum/viewtopic.php?p=513599
http://www.criterionforum.org/forum/viewtopic.php?p=513599
Screendaily Jury Grid (Page 52 from Digital edition from Day
6), where the Todd Haynes film Carol is the only film rated higher than 3 with
a 3.5 average score
Les Etoiles de la
critiques is up and running as well:
While Neil Young from Jigsaw Lounge maintains the odds for
winners:
PALME D’OR
FRONT RUNNERS
7-2 Hou – The Assassin
FRONT RUNNERS
7-2 Hou – The Assassin
4-1 Nemes – Son of Saul
4-1 Haynes – Carol
– – – – – – – – – – –
POTENTIAL CONTENDERS
4-1 Haynes – Carol
– – – – – – – – – – –
POTENTIAL CONTENDERS
10-1 Maïwenn – My King aka Mon Roi
10-1 Audiard – Dheepan
10-1 Audiard – Dheepan
12-1 Lanthimos – The Lobster
12-1 Sorrentino – Youth
12-1 Sorrentino – Youth
14-1 Trier – Louder Than Bombs
14-1 Brizé – The Measure of a Man
14-1 Garrone – Tale of Tales
16-1 Jia – Mountains May Depart
– – – – – – – – – – –
PRIZE CANDIDATES
20-1 Franco – Chronic
14-1 Brizé – The Measure of a Man
14-1 Garrone – Tale of Tales
16-1 Jia – Mountains May Depart
– – – – – – – – – – –
PRIZE CANDIDATES
20-1 Franco – Chronic
20-1 Moretti – My Mother aka Mia Madre
25-1 Kore-eda – Our Little Sister
22-1 Villeneuve – Sicario
28-1 Kurzel – Macbeth
– – – – – – – – – – –
LONGSHOTS
50-1 Donzelli – Marguerite and Julien
100-1 Nicloux – The Valley of Love
25-1 Kore-eda – Our Little Sister
22-1 Villeneuve – Sicario
28-1 Kurzel – Macbeth
– – – – – – – – – – –
LONGSHOTS
50-1 Donzelli – Marguerite and Julien
100-1 Nicloux – The Valley of Love
500-1 Van Sant – The Sea of Trees
BEST ACTRESS
6-5 Cate Blanchett and/or Rooney Mara (Carol)
4-1 Emmanuelle Bercot (My King aka Mon Roi)
6-1 Margherita Buy (My Mother aka Mia Madre)
– – –
10-1 any (or several) from Our Little Sister
12-1 Emily Blunt (Sicario)
14-1 Marion Cotillard (Macbeth)
– – –
22-1 Shu Qi (The Assassin)
25-1 any (or several) from Dheepan
6-5 Cate Blanchett and/or Rooney Mara (Carol)
4-1 Emmanuelle Bercot (My King aka Mon Roi)
6-1 Margherita Buy (My Mother aka Mia Madre)
– – –
10-1 any (or several) from Our Little Sister
12-1 Emily Blunt (Sicario)
14-1 Marion Cotillard (Macbeth)
– – –
22-1 Shu Qi (The Assassin)
25-1 any (or several) from Dheepan
28-1 Rachel Weisz (The Lobster and/or Youth) solo
28-1 Zhao Tao (Mountains May Depart)
28-1 Zhao Tao (Mountains May Depart)
28-1 Isabelle Huppert (Louder Than Bombs
and/or The Valley of Love)
33-1 Anaïs Demoustier (Marguerite and Julien)
33-1 Anaïs Demoustier (Marguerite and Julien)
50-1 The Lobster’s female ensemble
BEST ACTOR
7-4 Vincent Lindon (The Measure of a Man)
7-2 Géza Röhrig (Son of Saul)
– – –
10-1 Tim Roth (Chronic)
12-1 Jesuthasan Antonythasan (Dheepan)
7-4 Vincent Lindon (The Measure of a Man)
7-2 Géza Röhrig (Son of Saul)
– – –
10-1 Tim Roth (Chronic)
12-1 Jesuthasan Antonythasan (Dheepan)
14-1 Vincent Cassel (My King aka Mon Roi)
14-1 Colin Farrell (The Lobster)
16-1 Michael Caine and/or Harvey Keitel (Youth)
14-1 Colin Farrell (The Lobster)
16-1 Michael Caine and/or Harvey Keitel (Youth)
16-1 any (or several) from Louder Than
Bombs (Byrne, Eisenberg, Druid)
– – –
– – –
25-1 Toby Jones (Tale of Tales)
25-1 John Turturro (My Mother aka Mia Madre)
28-1 Michael Fassbender (Macbeth)
33-1 Gérard Depardieu (The Valley of Love)
33-1 Liang Jingdong (Mountains May Depart)
40-1 Jérémie Elkaïm (Marguerite and Julien)
25-1 John Turturro (My Mother aka Mia Madre)
28-1 Michael Fassbender (Macbeth)
33-1 Gérard Depardieu (The Valley of Love)
33-1 Liang Jingdong (Mountains May Depart)
40-1 Jérémie Elkaïm (Marguerite and Julien)
50-1 Ken Watanabe and/or Matthew
McConaughey (The Sea of Trees)
50-1 Benicio Del Toro (Sicario)
50-1 Benicio Del Toro (Sicario)
The round-up of various links covering Cannes:
Screendaily still has paywalls, but if you click on the
reviews, they are open to the public: http://www.screendaily.com/, also: http://www.screendaily.com/festivals/cannes/reviews/
The Hollywood Reporter
at Cannes: https://www.hollywoodreporter.com/movies/cannes-film-festival/2015
David Hudson does all the links for each review at
Fandor: https://www.fandor.com/keyframe/category/daily
The Film Center's Barbara Scharres and Michał Oleszczyk,
also Ben Kenigsberg and Chaz Ebert at Cannes from the Roger Ebert blog: http://www.rogerebert.com/cannes/cannes-2015-table-of-contents
Kevin Jagernauth, Oliver Lyttelton, and Jessica Kiang the
indieWIRE Playlist: http://blogs.indiewire.com/theplaylist/tag/cannes-film-festival
a round-up of indieWIRE reviews: http://www.indiewire.com/festival/cannes_film_festival?t=all
The Guardian
collection of reviews: http://www.theguardian.com/film/cannes-2015
Mike D'Angelo at the Dissolve: http://thedissolve.com/features/postcards-from-cannes/
David Jenkins from Little White Lies: http://www.littlewhitelies.co.uk/features/festivals
Daniel Kasman, Adam Cook, and likely others at Mubi: https://mubi.com/notebook/posts/tag/Cannes%202015
Ignatiy Vishnevetsky at Cannes for The Onion A.V. Club: http://www.avclub.com/features/cannes-film-festival/
Fabien Lemercier at Cineuropa: https://storify.com/cineuropa/cannes-2015
Sukhdev Sandhu and Robbie Collins from The Daily Telegraph: http://www.telegraph.co.uk/film/cannes-festival/2015-movie-reviews/
The House Next Door at Cannes: http://www.slantmagazine.com/house/tags/cannes+film+festival
Cannes Diary from Film
Comment: http://www.filmcomment.com/blog
Eric Lavallee and Nicholas Bell from Ion Cinema: http://www.ioncinema.com/category/news/film-festivals
Drew McSweeny and Guy Lodge & others from HitFix: http://www.hitfix.com/movies/cannes-film-festival
Glenn Heath Jr. from the L-magazine: http://www.thelmagazine.com/tag/cannes-2015/
Various writers at Twitch: http://twitchfilm.com/festivals/cannes/
And, of course, George is back at Cannes this year, where he
finds off the beaten track film fare: http://georgethecyclist.blogspot.com
Invited films are often distinguished from those in the
Market by a strong charismatic performance by a star. They can lend
credence to a script that may not be entirely credible engaging an audience
enough with their artistry to make their movie seem worthwhile. The
Market is full of very marginal movies with a star hoping their performance can
save the day. I could spend the entire festival indulging in such fare. Mickey
Rourke can be seen in three Market movies, Nicholas Cage is in two. Joe
Pesci, James Caan, Joe Mantegna, Eric Roberts, Richard Jenkins, Michael Madsen,
Danny Glover and Oscar Isaac are among a host of actors who can carry a movie
who have non red-carpet roles. I'd be curious to see each of their
performances on the Big Screen, but won't be able to work many them into my
schedule.
This day was highlighted by a couple of riveting
performances in movies of questionable validity that a lesser performance would
otherwise have left audiences with a sour taste. Vincent Cassel dazzled
the screen as an über-suave restauranteur in the day's opening Competition
film, "Mon Roi." He sweeps
Emmanuelle Bercot (director of the opening night film "Standing
Tall"), playing a lawyer, off her feet. He's too perfect to be true
and she asks him after their first bout of conjugal bliss if he's for real, or
like all men a jerk. With his non-stop repartee he tells her he's the
King of Jerks, not a jerk himself but all other men are his subjects. He
of course turns into the ultimate jerk, and would be further fodder for
Janina's gender study class. Initially he fully caters to the object of his
desires, but then becomes the ultimate control freak, even insisting they name
their baby "Sinbad," rather than Elliot, as she would prefer.
This was directed by Maiwenn, whose previous film
"Polisse" won the Jury Prize, a much more realistic film.
Matthias Schoenaerts, another Gallic actor who can ignite
the screen, somewhat redeems the Un Certain Regard "Disorder," playing a part-time security guard while he
awaits word on whether he can return to duty in Afghanstan as he deeply wishes
despite being shell shocked. He is guarding the wife and son of a
prominent French businessman who is a presidential candidate. The
businessman is engaged in questionable practices that have him in trouble with
the press as well as people he does business with. His wife becomes a
target. Schoenaerts is a hunk. The script can't help but lapse into
matters of the libido.
Collin Ferrell is also known for his sexual dynamism.
But they are entirely wasted in "The
Lobster," a Competition film I caught up with today. He plays a
nebbish with a paunch and glasses, a role better suited for a Greg Kinear or
John C. Reilly. Reilly does turn up in this movie playing his usual
bumbling self, and just like the other Competition film he had a similar role
in "Tale of Tales," it was an exercise in inconsequential absurdism. Reilly
and Ferrell are a holding center for singles in a futuristic world. They
have 45 days to find a mate or they will be forced to be turned into an animal
of their choosing. Ferrell would like to become a lobster.
This was a rare day with a Market film on a subject matter
of personal interest--a documentary on a trek of the US from Mexico to Canada
by four recent graduates of Texas A&M on horseback. The film takes
its title "Unbranded" from
the wild mustangs they enlist for the ride. The subject of the west being
overrun by wild horses is a recurring theme of the movie. Their numbers
are increasing at 20 per cent a year. Over 50,000 are being held in
corrals awaiting adoption. It takes three months to train one for
domesticity. The scenery is spectacular as their route includes the Grand
Canyon, Yellowstone and Glacier National Park. They guys don't entirely
get along, distracting from the glory of their experience.
My day included two other documentaries with lengthy,
self-explanatory titles--"David
Lynch: Portrait of the Artist as a Young Man" and "Can't Stand Losing You: Surviving the Police."
Lynch narrates in a droning tone his life-story up until his first movie
"Eraserhead." He is rarely glimpsed though, as his commentary
is accompanied by drawings and paintings and sometimes photographs of what he
is describing, making this transcend the usual bio-pic. A recurring phrase from
his mother as he was growing up was that he was disappointing himself. His first ambition was to be a painter.
He rented a studio while he was still in school. When he upset his
father with his benign defiance, he told him he was no longer a member of
the family. He regained his good graces, but when he went to visit him a
few years later where he was living in Philadelphia his father was so unsettled
by his work that he advised him that he shouldn't have children. Little
did Lynch know at the time that his girl friend was pregnant. They
married shortly thereafter. Lynch says his life was saved a few years
later when he won a $5,000 grant from the American Film Institute to make a
short. He later earned a scholarship to move to LA from the AFI which led
to "Eraserhead."
The documentary on the Police was based on the memoirs of
guitarist Andy Summers, one of the three members of the band. The group's
singer and song writer Sting wasn't invoked at all in the making of the movie,
as Summers said all along he only cared about himself. The film has
plenty of archival interviews and concert and rehearsal footage to draw from as
well as some recent reunion concerts.
The day concluded with "Journey
to the Shore," another Un Certain Regard film that leant an insightful
view into the culture of another country, this time Japan. Ralph and I could
fully connect with this movie, as Ralph spent a good part of his working life
there and I two months bicycling it. A young woman's husband returns
three years after he was thought to have been lost at sea. He says he had
been depressed and needed to regain his health. He has spent the time
traveling about Japan working an assortment of jobs. It was just what he
needed. His face is continually wreathed in a beatific smile. He takes
his wife on a trip to meet many of the wonderful people he came to know during
his time away. They are all very happy to see him again.
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