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Ray Pride

By Ray Pride

Blueberry for breakfast: Will Wong open Cannes?

ent2006625_13.jpgRumors repeated by Cineuropa’s Fabien Lemercier hold that Cannes 2007 will open with Wong Kar Wai’s My Blueberry Nights and close with Zodiac. Out of competition titles include Francis Ford Coppola’s Youth Without Youth; the competition is said to include Denys Arcand’s Age of Innocence, Todd Haynes’ fractured Dylan biopic I’m Not There, The Coen brothers’ No Country for Old Men, Ballon rouge by Hou Hsiao-Hsien, Gus van Sant’s Paranoid Park, Promise Me This by Emir Kusturica, Kantoku Banzai by Takeshi Kitano, Silent Lightby Carlos Reygadas, and new films by Roy Andersson, Fatih Akin, Alesandr Sokourov and Bela Tarr. Yow! [More rumored titles at the link.]

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch