Cannes

Cannes Review: KILLING OF A SACRED DEER

Humanity is exactly what’s on the chopping block in a Yorgos Lanthimos film.

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Cannes Reviews: REDOUBTABLE, 120 BPM

Beyond outlining just how much of an asshole Hazanavicius’ Godard is—including a stupid running joke that seems to suggest the man derives his snobbish power from his sunglasses, which he repeatedly breaks throughout the film—Redoubtable is little more than a series of regrettable decisions that began the moment Hazanavicius started his adaptation.

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Cannes Review: THE SQUARE

The Square is an equilateral triangle—a film with three sharp, pointed edges and a very long ending that’s too rigid for it to turn a corner and assume its final shape. But as the follow-up to a film about the social contract, as well and the bystander effect, Östlund has made something hilarious, frustrating and very clever.

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Cannes Reviews: Okja, Jupiter’s Moon

The yelling started as soon as Okja’s Netflix presentation card appeared, muddying the matter more. This attitude fuels the ongoing debate on the Croisette: Can Netflix films win Palmes d’Or? Should they? The argument being Cannes is a festival where cinema is sacred—that films should be seen on big screens, not on small ones

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Cannes: The Daily Buzz – The Festival Runners Roundtable

The Daily Buzz is presented in Cannes with the support of Sunrider.com.

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Cannes: The Daily Buzz – The Critics Roundtable

The Daily Buzz is presented in Cannes with the support of Sunrider.com.

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Cannes: The Daily Buzz – The Asian Roundtable

The Daily Buzz is presented in Cannes with the support of Sunrider.com.

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Cannes: The Daily Buzz – IMDb’s Col Needham

The Daily Buzz is presented in Cannes with the support of Sunrider.com.

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“Do I feel bad? Yeah, I do. I wish [Cannes] liked the film better. Am I gonna kill myself? No. That’s one less tuxedo I have to rent. One more red carpet I don’t have to walk down. They got 35 films they like and mine they didn’t. Fine.”

“Do I feel bad? Yeah, I do. I wish [Cannes] liked the film better. Am I gonna kill myself? No. That’s one less tuxedo I have to rent. One more red carpet I don’t have to walk down. They got 35 films they like and mine they didn’t. Fine.”

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Cannes: Palme d’or Goes Ceylan’s Winter Sleep; Acting Nods To Timothy Spall, Julianne Moore; Jury Prized By Oldest And Youngest Directors In Competition, Godard And Dolan

Cannes: Palme d’or Goes Ceylan’s Winter Sleep; Acting Nods To Timothy Spall, Julianne Moore; Jury Prizes Oldest And Youngest Directors In Competition, Godard And Dolan

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Cannes 67 Wrap-Up

Cannes 67 – c’est fini.
After dozens of screenings, predictions, and an endless series of queue debates, we have a Palme d’Or.

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On Jean-Luc Godard / ADIEU AU LANGAGE / GOODBYE TO LANGUAGE 3D

AH DIEUX // AH GOD(ARD)S

That is a pun

2014

Cannes Film Festival

But

Can film

Can film actually festival?

???

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Cannes Review: Clouds of Sils Maria

I kinda love Clouds of Sils Maria. At its best, it is a female version of My Dinner With Andre. At its weakest, it is still interesting. The premise is pretty basic.

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Cannes Competition Review: Leviathan

There’s never a scene where Kolya doesn’t have a myriad of issues weighing on his mind, and these are visible in Serebryakov’s pained, tired facial expressions and believable portrayal of alcoholism (to be sure, Leviathan is boozier than two or three Hong Sang-soo films combined).

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Cannes: The Daily Buzz – Hot Topics

Hot Topics Roundtable at Cannes Film Festival with Eric Kohn, Anne Thompson, Marian Masone, Alison Willmore, and Jordan Hoffman.

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Cannes Topper Gilles Jacob On His Slow Fade

Cannes Topper Gilles Jacob On His Slow Fade

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Nuri Bilge Ceylan On Journalism Vs. Art

Nuri Bilge Ceylan On Journalism Vs. Art

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“Godard’s camera lens seems like the lens of a futuristically powerful telescope. He sees everything from a very great distance and vast detachment, on a planet of his own, and his communications are garbled and frazzled from being transmitted intergalactic distances.”

“Godard’s camera lens seems like the lens of a futuristically powerful telescope. He sees everything from a very great distance and vast detachment, on a planet of his own, and his communications are garbled and frazzled from being transmitted intergalactic distances.” And –  “It was truly moving to experience first-hand the hearty reception afforded “Goodbye to…

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Cannes Un Certain Regard Review: Lost River

If Lost River is the film Ryan Gosling wanted to debut as his first film—and you only get one first film—then I’ll be the first to admit that I had him pegged (as an artist, anyway) as someone entirely different.

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Cannes Review: The Salvation

Yeah, this film rocks.

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Quote Unquotesee all »

“Yes, yes, yes. Now I am also the producer on Jean-Luc’s films, so I need to raise the money. Yes, there are two projects in preparation with the pretext of virtual reality. We are beginning with two approaches: we can either do or undo VR. Maybe we will undo it more than we do VR, because thinking about VR leads to the opposite of VR. Is there concrete imagination in virtual reality? For me, cinema is concrete imagination because it’s made with the real and uses it. VR, virtual reality, is totally the opposite of that, but it might be interesting to use this and then to destroy it. No, we’ll see, we’ll see. First, it’s just an idea of a beginning. There is a forest to cross, and we are just at the beginning of the forest. The first step is development. As they say in business, first there is development and research. We have to develop somehow an idea for the film; I won’t say a script, but to see what we can do with this system, and what we can undo with this system.”
~ Fabrice Aragno On Godard’s Next Projects

“Why put it in a box? This is the number one problem I have—by the way it’s a fair question, I’m not saying that—with this kind of festival situation is that there’s always this temptation to classify the movie immediately and if you look at it—and I’ve tried to warn my fellow jurors of this—directors and movie critics are the worst people to judge movies! Directors are always thinking, “I could do that.” Critics are always saying, “This part of the movie is like the 1947 version and this part…” And it’s like, “Fuck! Just watch the movie and try and absorb it and not compare it to some other fucking movie and put it in a box!” So I think the answer’s both and maybe neither, I don’t know. That’s for you to see and criticize me for or not.”
~ James Gray