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there's just no way. can this festival branch out from English or French language winners?? is it possible? 2018-2019 feel like so long ago

Kapadia seemed a shoo-in for the Palme; a Baker win is shocking (somehow, despite the reviews; unless Coppola is lurking).

A great turn-out for Kapadia (and a solid political statement): From Cinefondation to the Grand Prix and raves at Cannes

Oof, I forgot about Lucas.

No film needs to win two prizes at Cannes (unless it's 2010).

I have no time for prequel trilogy rehabilitation, but hey, Lucas has a pretty solid record as a producer. I somehow didn’t realize he was involved with Mishima.

soundchaser wrote: Sat May 25, 2024 5:47 pm I have no time for prequel trilogy rehabilitation, but hey, Lucas has a pretty solid record as a producer. I somehow didn’t realize he was involved with Mishima.

He wrote a few checks for that and Twice Upon a Time, which are both better than anything he’s directly been responsible for in the last 30 years. Coppola was attracted to Mishima because he wanted to make his own adaptation of Spring Snow, which I think Zoetrope might still have the rights to

Omensetter wrote: Sat May 25, 2024 5:41 pm Kapadia seemed a shoo-in for the Palme; a Baker win is shocking (somehow, despite the reviews; unless Coppola is lurking).

Neon must be paying for the award at this point. this really doesn't register as a global film festival anymore

This was one of the most acclaimed films of the fest, what are you on about?

Is Anora winning the Palme that strange? This and the Kapadia are the two best reviewed films so they shared the two main prizes.

Five Palmes in a row for Neon is eyebrow-raising, but I'm not sure there's anything particularly conspiratorial about it. They've got money, and the juries seem to like the films the company gravitates towards.

Pleased for Baker. Liked Tangerine and The Florida Project very much. I still need to see Red Rocket.

Netflix bought Emilia Perez, didn't they? Maybe after a brief theatrical run and six months on streaming, they'll allow a boutique label to release it on disc (have they licensed to anyone other than Criterion, though? I don't remember off-hand).

domino harvey wrote: Sat May 25, 2024 5:58 pm This was one of the most acclaimed films of the fest, what are you on about?

it was. but it all just seems a bit suspect at the same time. I'm also just tired of seeing anglo and francophone films winning the top prize at this fest, as if nowhere else makes movies. Venice is guilty too, being a lot more Hollywood. Cannes just feels a lot more like the Oscars now is what I'm trying to say I guess

I don't know if domino's and thirtyframes's remarks were directed at me, but my surprise of Sean Baker winning derives from him not precisely fitting my schema of a Palme winner which is probably stuck in the European, self-serious past of Haneke, Dardennes, and Ceylan. Of course, his reviews were phenomenal, and I'm a fan. It seems like a deserving Palme winner like Triet was last year.

I was directing my remarks to Ryan, and his response back makes sense. No worries everyone, let’s just all be happy that what sounds like a good movie won!

Yeah, thrilled for Sean Baker. He's essentially been a lone wolf making controversially-humanistic indie movies about stigmatized populations (even if they're "anglo") for a long time, and in a world that appears to be become decreasingly humanistic and more judgmental (even in this thread, and several others..) by the day, the W is heartening

soundchaser wrote: Sat May 25, 2024 5:47 pm I have no time for prequel trilogy rehabilitation, but hey, Lucas has a pretty solid record as a producer. I somehow didn’t realize he was involved with Mishima.

And his foundation funds a lot of restorations.

Finch wrote: Sat May 25, 2024 6:07 pm Pleased for Baker. Liked Tangerine and The Florida Project very much. I still need to see Red Rocket.

Netflix bought Emilia Perez, didn't they? Maybe after a brief theatrical run and six months on streaming, they'll allow a boutique label to release it on disc (have they licensed to anyone other than Criterion, though? I don't remember off-hand).

They licensed All Quiet on the Western Front to Capelight worldwide. They brought the film to the US and UK via their distribution partners while releasing it themselves locally. It’s still surprising to me that this happened but maybe Edward Berger or the producers stipulated a physical release in their contracts. I asked Capelight at the time whether this is a on-off deal but never received a reply. A year later and this is as good as confirmed by the lack of more releases.

Gerwig told reporters after the win that Baker’s film reminded her of Hawks and Lubitsch

Anora was the first competition film I saw, and I didn't catch all of them, but it very easily was the best one.
I also caught from the competition - All We Imagine as Light, Sacred Fig, Grand Tour & Motel Destino.

Liked the Kapalia but while lovely, it is too slight; the Rasoulouf is wonderful; but Anora really is amazing and tops them both.

I've been a fan of Baker for a long time, and he spoke of his disappointment of not getting a bigger budget after The Florida Project (with COVID making Red Rocket a smaller film).
This one really feels like the one he's been waiting to make, and he uses it brilliantly to contrast the regular frills characters he loves against the rich life of the oligarchs.

The film, like his previous films, uses comedy to mask the true heartbreak and dark underbelly of them.
Anora is what you get if you made a realist version of Pretty Woman, and not a Hollywood wish fulfillment.

So trust me, out of the ones I saw it was very deserving

domino harvey wrote: Sat May 25, 2024 8:21 pm Gerwig told reporters after the win that Baker’s film reminded her of Hawks and Lubitsch

According to Severin, Baker gives special thanks Jess Franco and Soledad Miranda in the credits. All of this combined makes me very happy.

Finch wrote: Sat May 25, 2024 6:07 pm Pleased for Baker. Liked Tangerine and The Florida Project very much. I still need to see Red Rocket.

Tangerine may have been his breakthrough film, but I prefer the one he made before that, Starlet, which is always overlooked in conversations about him. That and The Florida Project are my two favourite films of his.

Yes, it’s shockingly overlooked outside of here- even my friends who are huge Baker fans never heard of it til recently. Anyone throwing shade at him because they want to see underrepresented voices should probably check out his work to recognize the irony

David Gordon Green’s Nutcrackers will be opening this year's TIFF festival, while Rebel Wilson's The Deb will be the closing film.

Bored and curious users on a rambunctious separate forum Watching the Awards season appear to have accidentally stumbled upon TIFF selections based upon the existence of phantom page addresses entered manually into a web browser. As of right now, the supposed phantom pages redirect directly to the website's 404 page, while films without a corresponding page or junk inputs simply display the 404 message without redirecting. The following titles 404 and thus appear to have phantom pages:

Spoiled for length

All We Imagine as Light
Anora
The Assessment
Better Man
Bird
Bonjour Tristesse
Bring Them Down
Caught by the Tides
Conclave
Daniela Forever
Emilia Perez
The End
The Fire Inside
The Girl with the Needle
Hard Truths
Harvest
I'm Still Here
The Last Showgirl
Matt and Mara
Megalopolis
Misericordia
Nonnas
Oh Canada
On Becoming a Guinea Fowl
On Falling
The Order
Paying For It
The Piano Lesson
Piece by Piece
Really Happy Someday
Relay
The Return
Rumours
Seeds
Sharp Corner
Shook
The Shrouds
They Will Be Dust
Unstoppable
Vermiglio
Without Blood

Many of these (the various Cannes titles and rumored Venice premieres) are hardly surprising, but it is nice to get some kind of confirmation that Joshua Oppenheimer's next is ready. Depending upon how they eventually get listed, surely some will pop up at Telluride as well. Also, who on earth would even want a Bonjour Tristesse remake