Cannes 2014

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OnOnt
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Re: Cannes 2014

#101 Post by OnOnt » Thu May 22, 2014 8:46 am

yoshimori wrote:
criterion10 wrote:Xavier Dolan's Mommy seems to be getting very positive remarks … Godard's latest Adieu au Langage seems to be eliciting the sort of response one would expect from a Godard film at this point, though many have praised his use of 3D.
Check James' link above again. As of now, the Godard is the consensus top-rated competition film.
Yes, the response to the Godard has been fantastic. A lot of people are gushing about it.

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Finch
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Re: Cannes 2014

#102 Post by Finch » Thu May 22, 2014 8:49 am

Slant's capsules for Winter Sleep, Wild Tales and Amour Fou. Only the Hausner gets a positive review.

Budd Wilkins also writes one of the few more critical reactions to Two Days One Night.

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domino harvey
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Re: Cannes 2014

#103 Post by domino harvey » Thu May 22, 2014 8:51 am

Campion is on record with loving Godard, too, so it could happen
Jane Campion wrote:No one today is as modern as Godard. There has never been a more daring conceptual, chic, and irreverent filmmaker.

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Finch
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Re: Cannes 2014

#104 Post by Finch » Thu May 22, 2014 9:29 am

Apparently Godard put loud baby crying and dog whining over the end credits of Goodbye to Language which must have enraged the few critics who didn't like the film (a German critic said there were a few boos in the press screening) all the more.

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repeat
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Re: Cannes 2014

#105 Post by repeat » Thu May 22, 2014 10:45 am

Gaddis wrote:
yoshimori wrote:The Dumont, on the other hand, was 200 minutes of whacky fun!
Tell us more if you can.
But please try not to spoil it if you can! :)

Judging by the reviews, Ferran's Bird People seems to be one of the more divisive titles this year. It's one I've been anticipating impatiently ever since reading her short production note published in Cahiers earlier this year; I loved Lady Chatterley, and while her starting points for this one were (by design) diametrically opposed to that film - swapping realism for fantasy, adaptation for original script, historical for contemporary setting - something about this really tickles my fancy. Hope to get a chance to check it out.

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Finch
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Re: Cannes 2014

#106 Post by Finch » Thu May 22, 2014 2:45 pm


yoshimori
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Re: Cannes 2014

#107 Post by yoshimori » Thu May 22, 2014 3:27 pm

Gaddis wrote:Tell us more if you can.
May be best just to check out the trailer and imagine it all stretched out to 3 1/2 hours. It's quite amazing to me that even the detectives in the film are non-professional actors.

Had a long interview with Dumont today. Incredibly articulate, of course, and a man who is easily frustrated, defensive when having to talk about the most personal aspect of his work. He was, for example, very resistant to the idea that his casting was in any way selective for certain types, insisting - I'm translating and paraphrasing - that he simply used whoever happened to be available. Again, google the trailer.

Looks like a movie I saw this morning just now won the Critics Week prize. It's a Ukrainian first film called The Tribe. The plot is pretty generic: complications arise when one of a gang of high-school-age boys falls in love with a young girl he's supposed to be pimping out at a truck stop. What makes it interesting is the fact that all the characters - the boys, the girl, everyone else - are DEAF!

The movie contains no subtitles, no voice-over. Even more bold, the film is composed of mostly wide shots, so even folks who can theoretically understand the actors' furious signing may not be able to see it clearly. Fascinating idea for a film. I'd loved to have seen, though, a less clichéd plot, maybe some procedural or something, something even more mysterious.

Off the quote in a previous post: would love to see Campion award the Godard the Palme. Let's see if she's got the balls to go through with it!

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Finch
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Re: Cannes 2014

#108 Post by Finch » Thu May 22, 2014 8:26 pm

Five stars from the Guardian for Russian film Leviathan
Andrei Zvagintsev's Leviathan is a sober and compelling tragic drama of corruption and intimidation in contemporary Russia, set in a desolate widescreen panorama. This is a movie which seems to be influenced by the Old Testament and Elia Kazan; it starts off looking like a reasonably scaled drama about a little guy taking on big government. Then it escalates to a new plane in which man is taking on the biggest, cruellest, and most implacable government of all, and the final sequence of devastation must surely be influenced by the final moments of Tarkovsky's The Sacrifice.

It is acted and directed with unflinching ambition, moving with deliberative slowness, periodically accelerating at moments of high drama and suspense. It isn't afraid of massive symbolic moments and operatic gestures; I was fractionally sceptical about these at the time, but they live and throb in my head hours after the final credit-crawl. Leviathan incidentally features a horribly watchable performance from Roman Madyanov as a crooked mayor who resembles a hideous reincarnation of Broderick Crawford in the 1949 municipal graft classic All The King's Men — with a hint of Boris Yeltsin. I hadn't heard of this 51-year-old Russian performer before now. His excellent performance makes me think it's a pity Cannes doesn't have a best supporting actor prize.

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Re: Cannes 2014

#109 Post by Movie-Brat » Thu May 22, 2014 11:53 pm

Apparently, Warner Brothers may sell Ryan Gosling's Lost River, probably because of how people took it at Cannes.

http://www.slashfilm.com/warner-bros-ma ... ost-river/" onclick="window.open(this.href);return false;

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Re: Cannes 2014

#110 Post by yoshimori » Fri May 23, 2014 6:06 am

All the competition films have now screened, Assayas' only moderately engaging Sils Maria being the last. So here're the rankings of the hundredish critics polled in James' link.

Competition films:

A: Dardennes, Ceylan, Godard
B: Dolan, Sissako, Zvyagintsev
C: Cronenberg, Leigh, Miller, Rohrwacher, Jones, Bonello
D: Kawase, Szifron, Loach
E: Egoyan, Hazanavicius

These seem reasonable. My only strong contrarian feelings are that the Ceylan is pretty weak, the Rohrwacher a bit better, and all of them not as good as they should be. The Assayas will likely come in in the C range.

Un certain regard films:

A: Alonso
B: Amalric, Ostlund
C: Hausner, Argento, Wenders, Ferran
D/E: all the rest

I'll see the Alonso in the repeat screenings tomorrow. Otherwise, the rankings seem reasonable to me except that I thought the Ferran was pretty insufferable, especially the first half.

Other films:

A: Dumont, Loznitsa doc, Ossama, doc, Takahata, Wiseman

The Dumont and the Godard were my favorites of the fest.

UCR Awards tonight; competition, tomorrow.

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Michael Kerpan
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Re: Cannes 2014

#111 Post by Michael Kerpan » Fri May 23, 2014 8:00 am

I assume you didn't get to see Takahata's Kaguyahime?

yoshimori
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Re: Cannes 2014

#112 Post by yoshimori » Fri May 23, 2014 8:16 am

Missed Kaguyahime, and it's not playing in the repeats tomorrow. Got good reviews, obviously. But I've never been a terribly big fan of his work (or Miyazaki's for that matter).

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Finch
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Re: Cannes 2014

#113 Post by Finch » Fri May 23, 2014 1:54 pm


James
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Re: Cannes 2014

#114 Post by James » Fri May 23, 2014 4:29 pm

UCR: White Horse
Jury Prize: Turist
Special Prize: The Salt of the Earth
FIPRESCA: Jauju

Link

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david_f
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Re: Cannes 2014

#115 Post by david_f » Fri May 23, 2014 5:28 pm

The main FIPRESCI prize goes to Nuri Bilge Ceylan’s Winter Sleep.

Love at First Fight by Thomas Cailley won best film in Directors’ Fortnight and Critics’ Week sections.

The Ecumenical Jury awarded Sissako's Timbuktu, with commendations for Wim Wenders’ The Salt of the Earth and Jaime Rosales’ Beautiful Youth.

http://variety.com/2014/film/news/winte ... 201190159/" onclick="window.open(this.href);return false;

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Finch
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Re: Cannes 2014

#116 Post by Finch » Sat May 24, 2014 12:07 pm

Mike D'Angelo's look back on Cannes 2014

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FerdinandGriffon
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Re: Cannes 2014

#117 Post by FerdinandGriffon » Sat May 24, 2014 12:51 pm

Mike D'Angelo wrote:Bear in mind, however, that even if the film loses, that may not be the end of the matter—Marion Cotillard might visit each juror in their hotel room and ask them if they’d be willing to change their vote.
At first I thought this was a a disgusting bit of casual sexism. Then the penny dropped.

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Re: Cannes 2014

#118 Post by criterion10 » Sat May 24, 2014 1:17 pm

Live stream for the currently ongoing Awards Ceremony.

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domino harvey
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Re: Cannes 2014

#119 Post by domino harvey » Sat May 24, 2014 1:34 pm

Palme d’Or: "Winter Sleep"

Grand Prix: "The Wonders," Director: Alice Rohrwacher

Prix de la Mise en Scene (best director): Bennett Miller, "Foxcatcher"

Prix du Scenario (best screenplay): "Leviathan," Writers: Andrey Zvyaginstev and Oleg Negin

Camera d’Or (best first feature): "Party Girl," Directors: Marie Amachoukeli, Claire Burger and Samuel Theis

Prix du Jury (jury prize): "Mommy," Director: Xavier Dolan; and "Goodbye to Language," Director: Jean-Luc Godard

Prix d’interpretation feminine (best actress): Julianne Moore, "Maps to the Stars"

Prix d’interpretation masculine (best actor): Timothy Spall, "Mr. Turner"

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domino harvey
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Re: Cannes 2014

#120 Post by domino harvey » Sat May 24, 2014 1:49 pm

And the Dardennes are shut out! JLG gets a pity Cannes win, Foxcatcher establishes itself as the Oscar film to beat, and several prominent awards go to women, as predicted

criterion10
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Re: Cannes 2014

#121 Post by criterion10 » Sat May 24, 2014 1:58 pm

Very interesting choices. I personally predicted Leviathan for the Palme d'Or, and Mommy for the Grand Prix.

Does any U.S. distributor have the rights for Winter Sleep at the moment, or is that one still waiting to be picked up?

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Re: Cannes 2014

#122 Post by ianungstad » Sat May 24, 2014 2:12 pm

A few titles sound pretty good but overall this seems to be a fairly lackluster year for Cannes.

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Finch
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Re: Cannes 2014

#123 Post by Finch » Sat May 24, 2014 3:22 pm

The only surprises in this are the Grand Prix for The Wonders and Miller winning Best Director. Very pleased for Julianne Moore personally.

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FrauBlucher
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Re: Cannes 2014

#124 Post by FrauBlucher » Sat May 24, 2014 5:27 pm

criterion10 wrote:Very interesting choices. I personally predicted Leviathan for the Palme d'Or, and Mommy for the Grand Prix.

Does any U.S. distributor have the rights for Winter Sleep at the moment, or is that one still waiting to be picked up?
Winter Sleep hasn't been signed yet, but it'll be interesting to see who does get it. Sony Classics may be a frontrunner.

criterion10
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Re: Cannes 2014

#125 Post by criterion10 » Sat May 24, 2014 6:29 pm

FrauBlucher wrote:
criterion10 wrote:Very interesting choices. I personally predicted Leviathan for the Palme d'Or, and Mommy for the Grand Prix.

Does any U.S. distributor have the rights for Winter Sleep at the moment, or is that one still waiting to be picked up?
Winter Sleep hasn't been signed yet, but it'll be interesting to see who does get it. Sony Classics may be a frontrunner.
Sony Classics actually just picked up Leviathan. (They also have Foxcatcher and Mr. Turner.)

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