Cannes

[jenkins]

Competition
“The Day After” directed by Hong Sangsoo
“Good Time” directed by Benny Safdie & Josh Safdie
“You Were Never Really Here” directed by Lynne Ramsay

Un Certain Regard
“Before We Vanish” directed by Kuroswa Kiyoshi

Special Screenings
“Clair’s Camera” directed by Hong Sangsoo

+ i look forward to new discoveries

Taylor Sheridan has a wildly talented cast and crew.

[wilder]

Cannes Directors’ Fortnight 2017 Line-Up Led By Claire Denis, Abel Ferrera, Sean Baker… And Dave Bautista
via The Playlist

Savvy Cannes-goers know that while the Official Selection has some of the biggest hitters (and certainly has them this year) on the Croisette, the Directors’ Fortnight sidebar is often the home of some of the most daring and exciting cinema that any festival has to offer. Focused a little more on newer filmmakers (but not exclusively), recent years have seen the bow of excellent movies like “Divines,” “My Life As A Zucchini,” “Neruda,” “Green Room,” “Embrace Of The Serpent,” “Mustang,” “Arabian Nights,” “Girlhood” and “Whiplash” within the parallel selection.

A week on from the arrival of the main Cannes line-up, the Quinzaine Des Realisateurs has unveiled their new selection, and it’s another strong one. Things will kick off with a doozy: the legendary Claire Denis, the most notable absence from the Official Competition, with her comedy (!) “Un Beau Soleil Intérieur,” starring Juliette Binoche and Gerard Depardieu.

There’s also new films from luminaries Abel Ferrera and Philippe Garrel, the latest from “Tangerine” director Sean Baker with the Willem Dafoe-starring “The Florida Project,” “Mediterranea” director Jonas Carpignano returning with “A Ciambra,” and the traditional Sundance carry-over, albeit an unexpected one: the Dave Bautista-starring one-take dystopian actioner “Bushwick” (plus festival fave “Patty Cake$,” which closes the sidebar). There’s also Bruno Dumont’s electro-pop Joan Of Arc musical, the intriguing sounding Zambian movie “I Am Not A Witch,” and the Imogen Poots-starring “Mobile Homes,” plus the latest from “Songs That My Mother Taught Me” helmer Chloe Zhao.

Take a look at the full line-up below.

UN BEAU SOLEIL INTÉRIEUR – Claire Denis (opening film)
A CIAMBRA – Jonas Carpignano
ALIVE IN FRANCE – Abel Ferrara
L’AMANT D’UN JOUR – Philippe Garrel
BUSHWICK – Cary Murnion & Jonathan Milott
CUORI PURI – Roberto De Paolis
THE FLORIDA PROJECT – Sean Baker
FROST – Sharunas Bartas
I AM NOT A WITCH – Rungano Nyoni
JEANNETTE, L’ENFANCE DE JEANNE D’ARC – Bruno Dumont
L’INTRUSA – Leonardo Di Costanzo
LA DEFENSA DEL DRAGÓN – Natalia Santa
MARLINA SI PEMBUNUH DALAM EMPAT BABAK – Mouly Surya
MOBILE HOMES – Vladimir de Fontenay
NOTHINGWOOD – Sonia Kronlund
ÔTEX-MOI D’UN DOUTE – Carine Tardieu
THE RIDER – Chloe Zhao
WEST OF THE JORDAN RIVER (FIELD DIARY REVISITED) – Amos Gitai
PATTY CAKE$ – Geremy Jasper (closing)

[wilder]

Ruben Östlund’s ‘The Square’ & Roman Polanski’s ‘Based On A True Story’ Join Cannes Line-Up
via The Playlist

When the Cannes line-up was announced a few weeks back, Thierry Frémaux hinted, as is often the case, that a few slots remained to be filled in the line-up. And news has just dropped as to exactly what those films are. The only addition to the Competition selection (which may indicate that there are still one or two more to come) is “The Square,” the latest from Ruben Östlund, director of the brilliant “Force Majeure.” The film, which revolves around a piece of public performance art, is at least partly in English, and stars the great Elisabeth Moss (who’ll be doing the Cannes double with Jane Campion’s “Top Of The Lake: China Girl”) and Dominic West, and instantly becomes one of the most anticipated of the festival. It marks a promotion for Östlund, whose last film was in the Un Certain Regard section.

Out of competition will be “Based On A True Story,” the latest from veteran director (and convicted sex criminal) Roman Polanski, which stars Eva Green and Polanski’s wife Emmanuelle Seigner — the film’s a psychological thriller of some kind. Meanwhile, “River Road” director Li Ruijun joins the Un Certain Regard line-up with “Walking Past The Future,” as will Argentinean director Santiago Mitre (who won Critics’ Week in 2015 with “Paulina”) with “The Summit” starring Ricardo Darín and Christian Slater; while a new documentary by Barbet Schroeder, “The Venerable W,” looking at Islamophobia in Burma, will get a Special Screening.

Actor-director Eric Caravaca will also get a special screening of his second feature, entitled “Carre 35;” while animated family comedy “Zombillenium,” an adaptation of a French comic book, will be a “Children’s Screening.”

[Sleepless]

Out of competition will be “Based On A True Story,” the latest from veteran director (and convicted sex criminal) Roman Polanski, which stars Eva Green and Polanski’s wife Emmanuelle Seigner — the film’s a psychological thriller of some kind.

That sentence is at once SEO-fishing, angry, and dismissive.

[jenkins]

2017 CANNES FILM FESTIVAL AWARDS

Palme d’Or: “The Square”

Grand Prix: “120 Beats Per Minute”

Jury Prize: “Loveless”

Best Actress: Diane Kruger, “In the Fade”

Best Actor: Joaquin Phoenix, “You Were Never Really Here”

Best Director: Sofia Coppola, “The Beguiled”

Best Screenplay: “The Killing of a Sacred Deer” and “You Were Never Really Here” (tie)

Camera d’Or: “Jeunne Femme/Montparnasse Bienvenue,” directed by Leonor Serraille

70th Anniversary Prize: Nicole Kidman

Short Film Palme d’Or: “Xiao Cheng Er Yue (A Gentle Night),” directed by Qiu Yang

Queer Palm (Feature): “BPM (Beats Per Minute),” Robin Campillo

Queer Palm (Short): “Islands,” Yann Gonzalez

CANNES 2017 UN CERTAIN REGARD PRIZES

Un Certain Regard Award: “A Man of Integrity,” Mohammad Rasoulof

Best Director: Taylor Sheridan, “Wind River”

Jury Prize: Michel Franco, “April’s Daughter”

Best Performance: Jasmine Trinca, “Fortunata”

Award for Poetry of Cinema: Mathieu Amalric, “Barbara”

CANNES 2017 DIRECTORS’ FORTNIGHT PRIZES

ART CINEMA AWARD
“The Rider,” (Chloe Zhao, U.S.)

EUROPA CINEMAS LABEL AWARD
“A Ciambra,” (Jonas Carpignano, Italy, Brazil, U.S.)

SOCIETY OF DRAMATIC AUTHORS AND COMPOSERS (SACD) PRIZE
“Let the Sunshine In,” (Claire Denis, France); “Lover For a Day,” (Philippe Garrel, France)

ILLY SHORT FILM PRIZE
“Back To Genoa City,” (Benoit Grimalt, France)

[jenkins]

basically they were like dude Pedro Almodóvar explain and he was like, there are nine people and i loved the movie (eruption in tears)

[Drenk]

That's what I meant when I said that the composition of a jury at Cannes is kind of meaningless. Or, at least, its president. It almost always ends the same way.

[Sleepless]

So I'm going to be taking a last-minute work tip next week which has resulted in me being in Cannes for almost 24 hours on Saturday, May 25 with nothing but free time.

Any suggestions for how to make the most of it?

I know we've got a couple of Cannes Festival attendees among us

[wilberfan]

See if you can fit a print of "Once Upon a Time in Hollywood" into your suitcase.   We'll arrange for a screening room for when you get back.

[Sleepless]

I know, right. Apparently the free screening on the beach that night is some kind of movie singalong thing, so at least there's that if I can't figure out something else in the meantime.

[jenkins]

really looking forward to the movies coming out of here. haven't yet read about all of them and i think there's going to be a marvelous surprise or two

[Drenk]

I'm seeing the Sciamma next Saturday because it screens here: I bought a ticket. I'm frustrated because the Kechiche won't but he's still editing the movie, so...

The Almodovar is out, so I'll see it, too.

[jenkins]

like v pumped re wanting almodóvar to win so badly. what inside news tells me:

Portrait of a Lady on Fire most likely winner
Pain and Glory deserves to win but not most likely
Paranoid is wished upon winning but not likely
Once Upon a Time is celebrated but too obvious to win
A Hidden Life done good but not like win-good

[Drenk]

I watched Blue in 2013 and it got the Palme the next day; I'm seeing Lady on Fire tomorrow and the movie ends during the ceremony, so Sciamma should prepare herself for the prize—and she should thank me.

[polkablues]

Word on the new Kechiche is that it's an epic disaster, which oddly makes me more intrigued to see it.

edit: And I just now saw that Drenk already posted about it yesterday in the actual thread. Point still stands!