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By MCN Editor editor@moviecitynews.com

Cannes 2012 Line-Up Announced

(Cannes website here.)

Competition

Opening Film

Moonrise Kingdom, Wes Anderson

After The Battle (Baad el mawkeaa), Yousry Nasrallah

Amour, Michael Haneke

The Angels’ Share, Ken Loach

Beyond the Hills, Cristian Mungiu

Cosmopolis, David Cronenberg

Holy Motors, Leos Carax

The Hunt, Thomas Vinterberg

In Another Country, Hong Sang-soo

In the Fog, Sergei Loznitsa

Killing Them Softly, Andrew Dominik

Lawless, John Hillcoat

Like Someone in Love, Abbas Kiarostami

Mud, Jeff Nichols

On the Road, Walter Salles

The Paperboy, Lee Daniels

Paradies: Liebe, Ulrich Seidl

Post tenebras lux, Carlos Reygadas

Reality, Matteo Garrone

Rust and Bone, Jacques Audiard

Taste of Money, Im Sang-soo

You Haven’t Seen Anything Yet (Vous n’avez encore rien vu), Alain Resnais

Closing Film

Therese Desqueyroux, Claude Miller

Un certain regard

Antiviral, Brandon Cronenberg

Beasts of the Southern Wild, Benh Zeitlin

Confession of a Child of the Century, Sylvie Verheyde

Despues de Lucia, Michel Franco

11.25 The Day He Chose His Own Fate, Koji Wakamatsu

Le grand soir, Benoit Delepine, Gustave Kervern

Laurence Anyways, Xavier Dolan

Les Chevaux de Dieu, Nabil Ayouch

Loving Without Reason, Joachim Lafosse

Miss Lovely, Ashim Ahluwalia

Mystery, Lou Ye

La Pirogue, Moussa Toure

La Playa, Juan Andres Arango

7 Days in Havana, Laurent Cantet, Benicio del Toro, Julio Medem, Gaspar Noé, Elia Suleiman, Juan Carlos Tabio, Pablo Trapero

Student, Darezhan Omirbayev

Trois mondes, Catherine Corsini

White Elephant (Elefante Blanco), Pablo Trapero

Out-of-Competition

Hemingway & Gellhorn, Philip Kaufman

Madagascar 3: Europe’s Most Wanted, Eric Darnell, Tom McGrath, Conrad Vernon

Me and You, Bernardo Bertolucci

Midnight

Dario Argento’s Dracula, Dario Argento

The Legend of Love & Sincerity, Takashi Miike

Special Screenings

The Central Park Five, Ken Burns, Sarah Burns, David McMahon

Journal de France, Claudine Nougaret, Raymond Depardon

Les Invisibles, Sebastien Lifshitz

Mekong Hotel, Apichatpong Weerasethakul

Der Mull im Garten Eden, Fatih Akin

A musica segundo Tom Jobim, Nelson Pereira Dos Santos

Roman Polanski: A Film Memoir, Laurent Bouzereau

Villegas, Gonzalo Tobal

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One Response to “Cannes 2012 Line-Up Announced”

  1. movieman says:

    No PT Anderson and Malick isn’t surprising.
    The absence of Woody is, however.
    Very disappointed that the new Assayas and Wong Kar Wai films won’t be ready in time for Cannes.
    Maybe later in the 2012 festival season?

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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