By Jake Howell jake.howell@utoronto.ca

Divining Cannes 2014

It may seem premature to discuss the 2014 Cannes Film Festival, even before the Oscars 2013 ceremony. But there’s less than 100 days before some of the world’s greatest filmmakers hit the Croisette. So what can we expect?

The Palme d’Or Competition is historically programmed with Cannes veterans. Out of 2013’s slate of 20 Competition films, the Festival only welcomed five new auteurs to the club: Valeria Bruni-Tedeschi, Amat Escalante, Abdellatif Kechiche, Asghar Farhadi and Alex van Warmerdam. That means the remaining 15 films in Competition were by returning Competition directors. That’s a 75% margin, and echoing that number is 2012’s slate, which had 16/22 films by returning filmmakers (or ~73%).

2014 will not be different. Approximately three out of four films competing for the Palme d’Or in May will have been crafted by Competition alumni, and you can mix and match your favorites below.

Armed with an IMDb Pro account, I looked up the 155 Competition filmmakers of the last 11 Festivals (2003-2013). Below are three lists: the raw list of alumni, the list of alumni who have upcoming projects, and the list of alumni likely aiming for a Cannes debut.

Cannes Competition 2014 – The Likely Suspects

Akin, Fatih – The Cut (2014, Tahar Rahim)

Amalric, Mathieu – The Blue Room (2014)

Assayas, Olivier – Clouds of Sils Maria (Kristen Stewart, Juliette Binoche, Chloe Grace Moretz)

Bonello, Bertrand – Saint Laurent (2014, Lea Seydoux)

Cantet, Laurent – Retour à Ithaque (2014, post-prod)

Ceylan, Nuri Bilge – Hibernation (2014)

Cronenberg, David – Maps to the Stars (2014)

Dardenne, Jean-Pierre and Luc – Two Days, One Night (2014, post-prod, Marion Cotillard)

Egoyan, Atom – The Captive (2014, completed, Ryan Reynolds and Rosario Dawson)

Fincher, David – Gone Girl (October 2014)

Hazanavicius, Michel – The Search (2014, post-prod, Annette Bening and Berenice Bejo)

Hsiao-Hsien, Hou – The Assassin (2014, post-prod) (David Bordwell reports at least another year of post is required)

Iñárritu, Alejandro González – Birdman (2014, post-prod, Michael Keaton, Emma Stone)

Jaoui, Agnes – L’art de la fugue (2014, completed)

Jones, Tommy Lee – The Homesman (2014, post-prod, Meryl Streep, Tommy Lee Jones, Hilary Swank)

Kawase, Naomi – Still the Water (2014, filming)

Leigh, Mike – Mr. Turner (2014, post-prod)

Loach, Ken – Jimmy’s Hall (2014, post-prod)

Malick, Terrence – Voyage of Time or Knight of Cups (2014, post-prod)

Miike, Takashi – Kuime (2014, completed)

Miller, Frank and Robert Rodriguez – Sin City: A Dame to Kill For (2014, post-prod)

Mundruczó, Kornél – White God (2014, post-prod)

Ozon, François – The New Girlfriend (2014, post-prod)

Téchiné, André – L’homme que l’on aimait trop (2014, post-prod)

Vinterberg, Thomas – Far from the Madding Crowd (2014, post-prod, Juno Temple, Carey Mulligan)

Wenders, Wim – Every Thing Will Be Fine (2014, post-prod, Rachel McAdams, James Franco, Charlotte Gainsbourg)

Zvyagintsev, Andrey – Leviathan (2014, filming)

Some notes:

—Héctor Babenco, Amos Gitai, and Emir Kusturica (all recent Competition alumni) are attached to Words with Gods. This compilation film is an excellent bet for an Out of Competition or Un Certain Regard slot.

—Frank Miller and Robert Rodriguez’s Sin City played in Competition in 2005; it’s reasonable to think the upcoming sequel could as well.

—It isn’t clear if Jane Campion as President of the Jury means a stronger showing of female auteurs in Competition. If I had to guess, though, I would be optimistic about such an outcome.

—Clint Eastwood’s Jersey Boys strikes me as a film that would play Out of Competition, given the material and the tone.

—Guessing how or when Terrence Malick’s anticipated projects will be released feels like an absolute crapshoot, but his Palme d’Or win in 2011 may encourage him to take either Voyage of Time or Knight of Cups to the Croisette this year.

—Vincent Gallo (of The Brown Bunny infamy) has completed his latest film, April, but it remains to be seen if it will emerge from his private vault.

—Angelina Jolie is a red carpet favorite at Cannes, and her film Unbroken (2014) is undoubtedly being courted by the Festival.

—Had I included 2002’s Festival in my research, Paul Thomas Anderson’s Inherent Vice would appear above. The film is indeed expected to debut at Cannes.

—Coincidentally, Gavin O’Connor’s Jane Got a Gun is set to be released on August 29, 2014—exactly two years after the theatrical release of John Hillcoat’s 2012 Competition film, Lawless. Seeing as The Weinstein Company is responsible for both of these Westerns, Jane Got a Gun is almost assuredly going to Cannes—assuming they follow the same release strategy as Lawless.

Competition Veterans (2003-2013) with Listed or Upcoming Projects

Akin, Fatih – The Cut (2014, Tahar Rahim)

Amalric, Mathieu – The Blue Room (2014)

Arcand, Denys – Le Règne de la Beauté (2014)

Asbury, Kelly – Kazorn (2014?)

Assayas, Olivier – Hubris (2014, script), Clouds of Sils Maria (Kristen Stewart, Juliette Binoche, Chloe Grace Moretz)

Avati, Pupi – Un ragazzo d’oro (2014, filming, Sharon Stone)

Bellocchio, Marco – La prigione di Bobbio (2014)

Belvaux, Lucas – Pas son Genre (2014, French release in April)

Babenco, Hector – Words with Gods (2014, segment, post-prod)

Bonello, Bertrand – Saint Laurent (2014, Lea Seydoux)

Cantet, Laurent – Retour à Ithaque (2014, post-prod)

Cedar, Joseph – Jerusalem, I Love You (???)

Ceylan, Nuri Bilge – Hibernation (2014)

Coixet, Isabel – Learning to Drive (Oct 2014)

Coppola, Sofia – Fairyland (2015)

Cronenberg, David – Maps to the Stars (2014)

Dardenne, Jean-Pierre and Luc – Two Days, One Night (2014, post-prod, Marion Cotillard)

Dominik, Andrew – Blonde (2015)

Eastwood, Clint – Jersey Boys (2014, June 20 release)

Egoyan, Atom – The Captive (2014, completed)

Fincher, David – Gone Girl (October 2014)

Gallo, Vincent – April (2014, completed)

Garrone, Matteo – The Tale of Tales (2014, pre-prod)

Gitai, Amos – Words with Gods (2014, segment, post-prod)

Gray, James – The Lost City of Z (2015, pre-prod)

Greenaway, Peter – Eisenstein in Guanajuato (2014, filming)

Haneke, Michael – Flashmob (2015)

Hazanavicius, Michel – The Search (2014, post-prod, Annette Bening and Berenice Bejo)

Hillcoat, John – Triple Nine (2015, pre-prod)

Honore, Christophe – Metamorphoses (2014, post-prod)

Hsiao-Hsien, Hou – The Assassin (2014, post-prod)

Inarritu, Alejandro Gonzalez – Birdman (2014, post-prod, Emma Stone)

Jaoui, Agnes – L’art de la fugue (2014, completed)

Jones, Tommy Lee – The Homesman (2014, post-production, Meryl Streep, Tommy Lee Jones, Hilary Swank)

Kawase, Naomi – Still the Water (2014, filming)

Kaufman, Charlie – Anomalisa (2014, filming)

Kiarostami, Abbas – Horizontal Process (no date, script)

Kelly, Richard – Corpus Christi (no date, script)

Kusturica, Emir – Words with Gods (2014, segment, post-prod), The Bridge on the Drina (2014, status unknown)

Leigh, Mike – Mr. Turner (2014, post-prod)

Liman, Doug – Edge of Tomorrow (2014, post-prod), Reckoning with Torture (2014, post-prod)

Loach, Ken – Jimmy’s Hall (2014, post-prod)

Loznitsa, Sergei – Ponts de Sarajevo (2014, post-prod)

Maiwenn – Rien ne sert de courier (2015, pre-prod)

Malick, Terrence – Voyage of Time, Knight of Cups (2014, post-prod)

Mamoru, Oshii – The Last Druid: Garm Wars (2014, post-prod), The Next Generation: Patlabor (2014, post-prod)

Martel, Lucrecia – Zama (2015, pre-prod)

Meirelles, Fernando – Rio, I Love You (2014, filming)Miike, Takashi – Kuime (2014, completed)

Miller, Frank – Sin City: A Dame to Kill For (2014, post-prod)

Moretti, Nanni – Mia madre (2014, filming)

Mundruczo, Kornel – White God (2014, post-prod)

Nichols, Jeff – Midnight Special (2014, filming, Kirsten Dunst and Michael Shannon)

Ozon, Francois – The New Girlfriend (2014, post-prod)

Rodriguez, Robert – Sin City: A Dame to Kill For (2014, post-prod)

Sang-soo, Im – Rio, I Love You (2014)

Seidl, Ulrich – In the Basement (2014)

Sokourov, Alexander – Francofonia: Le Louvre Under German Occupation (2014, post-prod, Bruno Delbonnel cinematography)

Sorrentino, Paolo – Rio, I Love You (2014), In the Future (2015, pre-prod)

Techine, Andre – L’homme que l’on aimait trop (2014, post-prod)

To, Johnnie – Don’t Go Breaking My Heart 2 (2014, filming)

Van Warmerdam, Alex – Schneider vs. Bax (2015, pre-prod)

Vinterberg, Thomas – Far from the Madding Crowd (2014, post-prod, Juno Temple, Carey

Mulligan)

Weingartner, Hans – Der Taucher (2015, script)

Weerasethakul, Apichatpong – Cemetery of Kings (no date, script)

Wenders, Wim – Every Thing Will Be Fine (2014, post-prod, Rachel McAdams, James Franco, Charlotte Gainsbourg)

Zviaguintsev, Andrei – Leviathan (2014, filming)

 

Alumni of the Palme d’Or Competition: 2003-2013

Adamson, Andrew – n/a

Akin, Fatih – The Cut (2014, Tahar Rahim)

Almodovar, Pedro – n/a

Amalric, Mathieu – The Blue Room (2014)

Anderson, Wes – n/a

Arcand, Denys – Le Règne de la Beauté (2014)

Arnold, Andrea – n/a

Asbury, Kelly – Kazorn (2014?)

Assayas, Olivier – Hubris (2014, script), Clouds of Sils Maria (Kristen Stewart, Juliette Binoche, Chloe Grace Moretz)

Audiard, Jacques – n/a

Avati, Pupi – Un ragazzo d’oro (2014, filming, Sharon Stone)

Beauvois, Xavier – n/a

Bellocchio, Marco – La prigione di Bobbio (2014)

Belvaux, Lucas – Pas son Genre (2014, French release in April)

Blier, Bertrand – n/a

Babenco, Hector – Words with Gods (2014, segment, post-prod)

Bonello, Bertrand – Saint Laurent (2014, Lea Seydoux)

Bouchareb, Rachid – n/a

Breillat, Catherine – n/a

Caetano, Israel Adrian 2 – n/a

Campion, Jane – Jury President

Cantet, Laurent – Retour à Ithaque (2014, post-prod)

Carax, Leos – n/a

Cavalier, Alain – n/a

Chang-dong, Lee – n/a

Chan-wook, Park – n/a

Cedar, Joseph – Jerusalem, I Love You (???)

Ceylan, Nuri Bilge – Hibernation (2014)

Coen, Joel and Ethan – n/a

Coixet, Isabel – Learning to Drive (Oct 2014)

Coppola, Sofia – Fairyland (2015)

Costa, Pedro – n/a

Cronenberg, David – Maps to the Stars (2014)

Dardenne, Jean-Pierre and Luc – Two Days, One Night (2014, post-prod, Marion Cotillard)

Daniels, Lee – n/a

Del Toro, Guillermo – n/a

Desplechin, Arnaud – n/a

Dominik, Andrew – Blonde (2015)

Dumont, Bruno – n/a

Eastwood, Clint – Jersey Boys (2014, June 20 release)

Escalante, Amat – n/a

Egoyan, Atom – The Captive (2014, completed)

Fincher, David – Gone Girl (October 2014)

Folman, Ari – n/a

Gallo, Vincent – April (2014, completed)

Garcia, Nicole – n/a

Garrel, Philippe – n/a

Garrone, Matteo – The Tale of Tales (2014, pre-prod)

Gatlif, Tony – n/a

Giannoli, Xavier – n/a

Gitai, Amos – Words with Gods

Giordana, Marco Tullio – n/a

Gray, James – The Lost City of Z (2015, pre-prod)

Greenaway, Peter – Eisenstein in Guanajuato (2014, filming)

Haneke, Michael – Flashmob (2015)

Haroun, Mahamat-Saleh – n/a

Hazanavicius, Michel – The Search (2014, post-prod, Annette Bening and Berenice Bejo)

Hillcoat, John – Triple Nine (2015, pre-prod)

Honore, Christophe – Metamorphoses (2014, post-prod)

Hopkins, Stephen – n/a

Hsiao-Hsien, Hou – The Assassin (2014, post-prod)

Inarritu, Alejandro Gonzalez – Birdman (2014, post-prod, Emma Stone)

Jarmusch, Jim – n/a

Jaoui, Agnes – L’art de la fugue (2014, completed)

Jones, Tommy Lee – The Homesman (2014, post-production, Meryl Streep, Tommy Lee Jones, Hilary Swank)

Kawase, Naomi – Still the Water (2014, filming)

Kaufman, Charlie – Anomalisa (2014, filming)

Kaurismaki, Aki – n/a

Kar-wai, Wong – n/a

Khoo, Eric – n/a

Kiarostami, Abbas – Horizontal Process (no date, script)

Ki-Duk, Kim – n/a

Kitano, Takeshi – n/a

Kechiche, Abdellatif – n/a

Kelly, Richard – Corpus Christi (no date, script)

Koreeda, Hirokazu – n/a

Kurosawa, Kiyoshi – n/a

Kusturica, Emir – Words with Gods, The Bridge on the Drina (2014, status unknown)

Larrieu, Arnaud and Jean-Marie – n/a

Lee, Ang – n/a

Leigh, Julia – n/a

Leigh, Mike – Mr. Turner (2014, post-prod)

Liman, Doug – Edge of Tomorrow (2014, post-prod), Reckoning with Torture (2014, post-prod)

Linklater, Richard – n/a

Loach, Ken – Jimmy’s Hall (2014, post-prod)

Loznitsa, Sergei – Ponts de Sarajevo (2014, post-prod)

Luchetti, Daniele – n/a

Maiwenn – Rien ne sert de courier (2015, pre-prod)

Makhmalbaf, Samira – n/a

Malick, Terrence – Voyage of Time, Knight of Cups (2014, post-prod)

Masahiro, Kobayashi – n/a

Mamoru, Oshii – The Last Druid: Garm Wars (2014, post-prod), The Next Generation: Patlabor (2014, post-prod)

Martel, Lucrecia – Zama (2015, pre-prod)

Meirelles, Fernando – Rio, I Love You (2014, filming)

Mendoza, Brillante – n/a

Mihaileanu, Radu – n/a

Miike, Takashi – Kuime (2014, completed)

Mikhalkov, Nikita – n/a

Ming-Liang, Tsai – n/a

Miller, Claude – RIP, 1942-2012

Miller, Frank – Sin City: A Dame to Kill For (2014, post-prod)

Moll, Dominik – n/a

Moore, Michael – n/a

Moretti, Nanni – Mia madre (2014, filming)

Mundruczo, Kornel – White God (2014, post-prod)

Mungiu, Cristian – n/a

Nadjari, Raphael – n/a

Nasrallah, Yousry – n/a

Nichols, Jeff – Midnight Special (2014, filming, Kirsten Dunst and Michael Shannon)

Noe, Gaspar – n/a

Nossiter, Jonathan – n/a

Ozon, Francois – The New Girlfriend (2014, post-prod)

Paronnaud, Vincent – n/a

Polanski, Roman – n/a

Ramsay, Lynne – n/a

Resnais, Alain – n/a

Reygadas, Carlos – n/a

Rodriguez, Robert – Sin City: A Dame to Kill For (2014, post-prod)

Ruiz, Raul – RIP, 1941-2011

Saleem, Hiner – n/a

Salles, Walter – n/a

Sang-soo, Hong – n/a

Sang-soo, Im – Rio, I Love You (2014)

Satrapi, Marjane – n/a

Seidl, Ulrich – In the Basement (2014)

Schleinzer, Markus – n/a

Schnabel, Julian – n/a

Soderbergh, Steven – n/a

Sokourov, Alexander – Francofonia: Le Louvre Under German Occupation (2014, post-prod, Bruno Delbonnel cinematography)

Sorrentino, Paolo – Rio, I Love You (2014), In the Future (2015, pre-prod)

Suleiman, Elia – n/a

Tarantino, Quentin – n/a

Tarr, Bela – n/a

Tavernier, Bertrand – n/a

Techine, Andre – L’homme que l’on aimait trop (2014, post-prod)

Tedeschi, Valeria Bruni – n/a

Thomas, Daniela – n/a

To, Johnnie – Don’t Go Breaking My Heart 2 (2014, filming)

Trapero, Pablo – n/a

Van Sant, Gus – n/a

Van Warmerdam, Alex – Schneider vs. Bax (2015, pre-prod)

Vernon, Conrad – n/a

Vinterberg, Thomas – Far from the Madding Crowd (2014, post-prod, Juno Temple, Carey Mulligan)

von Trier, Lars – n/a

Weingartner, Hans – Der Taucher (2015, script)

Weerasethakul, Apichatpong – Cemetary of Kings (no date, script)

Wenders, Wim – Every Thing Will Be Fine (2014, post-prod, Rachel McAdams, James Franco, Charlotte Gainsbourg)

Winding Refn, Nicolas – n/a

Xiaoshuai, Wang – n/a

Ye, Lou – n/a

Zhangke, Jia – n/a

Zviaguintsev, Andrei – Leviathan (2014, filming)

2 Responses to “Divining Cannes 2014”

  1. Harold says:

    Of all these filmmakers Vincent Gallo is by far my favorite and the one I think is the most original and talented. Sadly I think he may never show his new films again as he has chosen not to for so long now. I was lucky to see his film Promises Written in Water at Venice 2010. It was the best and most unusual film I have ever seen. It has never appeared publicly again and I have a hunch he may not show his films even in film festival context. I talked to him at Cannes 2003 and he mentioned being at Cannes or any festival felt silly.

  2. Chris says:

    Harold,

    I like your style. I completely agree with you about Gallo’s talent and originality. If he doesn’t show April at Cannes, I hope he shows it somewhere.

    – Chris

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
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“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
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