Post is a work in progress until after the closing ceremony next Saturday, May 25.
As some winners were announced yesterday and more today, Thursday May, 23, the 2019 Cannes awards post will start now and will be updated each day until the last day of the festival.
There is no real need to mention that 2019 has become the year where finding which films will compete for this award is truly hard, the hardest ever but I just did as is so frustrating. The website address (queerpalm.fr) takes you to undesired advertising with all my computer protection whistlers go crazy loud. Sigh. The queerpalm.org has no info for 2019, only for 2018. Still, hope that list below represents the best intentions to know which films have some lesbian or gay interest so we can hope to watch at least some of them during the next year.
This year was able to find some info in Glaad, the American organization, and perhaps the most interesting is the following:
Port Authority will be the first film in the festival’s history to feature a trans woman of color in a leading role. Starring newcomer Leyna Bloom and backed by Martin Scorsese, Port Authority tells a love story that begins at the New York City transportation center and dives into the kiki ballroom scene. The film also marks the feature film debut for director Danielle Lessovitz, who dedicated herself to authentic casting and representation.
Cinema has its roots in documentary film. This unique depiction of the world is becoming increasingly popular on the big screen and among the public. It is garnering more critical recognition and becoming more visible at festivals. As such, it deserves to be acknowledged at Cannes.
The ‘L'Œil d’Or’ Documentary Award was created in 2015 by LaScam (The French civil society for multimedia authors), in collaboration with the Cannes Festival and its General Delegate Thierry Frémaux, with the support of the INA (the French national audiovisual Institute) and Audiens.
It will be awarded to a documentary screened in one of the Cannes Festival categories (Official Selection, Competition, Un Certain Regard, Hors compétition & Séances de Minuit, Séances Spéciales, Short Films, Cannes Classics, Directors’ Fortnight, Semaine de la Critique.)
Cannes Soundtrack was founded in 2010 and has given a reward for Best Film Music from The Official Selection of the Festival since 2012. The reward is handed out by a Jury composed by journalists.
These are the words of Vincent Doerr, Founder of Cannes Soundtrack
From May 8th to 19th, the 71st Cannes Festival edition will take place. Since its creation, the Festival has revealed some of the biggest talents of Cinema, from Fellini, Colpi, Demy to Jane Campion and Roland Joffé, and carried them to the edge of film heritage as cult directors.
Second Update on May 4th, 2019. In the past couple of weeks organizers announced diffrent juries members, new films in the official selection plus the Cannes Classics films. As expected it's official, Cannes has enough Hollywood clout and will shine attracting international press more than well, before Tarantino's film was announced as part of the selection. On a more local shinning no doubt Kechiche's latest trilogy installment becomes news in France. Sigh.
As the competition films become all known have to agree with those saying that's been a long time since fest had such a strong lineup. Yes, it's a strong lineup with films by master-filmmakers from Europe, America and Asia; unfortunately there is not even one film from Latin American filmmakers but well, they're present in other sections. Worth mentioning that lineup strength comes not only from well-established great filmmakers but also from directors from a younger generation that in the past have shown their potential, in the present their films suggest to be top quality and I'm sure have a very bright future.
ACID (Association for the Distribution of Independent Cinema) is a film directors association that has been promoting the distribution of independent cinema in movie theaters since 1992. Their founding principle: the support brought by filmmakers to other filmmakers, French or foreign.
ACID filmmakers follow their love for film and wish to give visibility to directors whose work is scarcely distributed, in order to facilitate a theatrical release.
The ACID program at Cannes International Film Festival was created in 1993. Films are chosen by fifteen or so filmmakers, members of the association. The following are the filmmakers who chose the current selection.
Sylvie Ballyot, Aurélia Barbet, Marta Bergman, Michaël Dacheux, Marina Déak, Delphine Deloget, Jean-Louis Gonnet, Diego Governatori, Hanna Ladoul, Marco La Via, Vladimir Perišić, Clément Schneider, Idir Serghine, Christian Sonderegger, Laure Vermeersch.
The ACID program is shown at Palais des festivals and Les Arcades, Studio 13, Alexandre III, movie theaters in Cannes. The screeners, open to professionals and also to the public, are all followed by Q&As with films' crew and ACID filmmakers who support the films.
Yesterday organizers announced the selection to the pleasant surprise of many as includes many of the 2019 most expected films by extraordinary master filmmakers. Great.
Before getting into the list, a few words about the poster. Both naturalistic and transfigured, photographer Robert Schlaug's picture evokes a road to travel as well as an acceleration, an eye movement. Between realism and digital artifact, the artist's intervention disrupts codes and questions our perception, recalling the spirit of the films presented over the last 50 years bye de Directors' Fortnight.
There are three Virtual Reality installations by Laurie Anderson and Hsin-Chien Huang: called Go Where You Look! Falling Off Snow Mountain; the installation has three pieces Aloft, Chalkroom and To The Moon. Both Aloft and Chalkroom are currently installed in MASS MoCA in North Adams Massachusetts. Under its Italian title “La Camera Insabbiata” it won the award for “Best VR Experience” at the Venice Film Festival. To the Moon was commissioned by Louisiana Museum of Modern Art, Humlebaek, Denmark. Presenting these installations together in the Cannes Film Festival provides a unique opportunity to see new relationships between the them as well as a chance to see these works in the context of a film festival that promotes mainstream as well as experimental and high cinema. To read more about the special event go official site here.
A few minutes ago organizers announced via social media the Festival de Cannes parallel section that always has unconventional films to say the least. As of this moment the info is available only in French but imagine soon will be available in English. Update: all info is available in English too!
The Poster
Before diving into the selection will share info about the magnificent poster showcasing Félix Maritaud - winner of the Louis Roederer Foundation Rising Star Award - in a photo by Aurélie Lamachère in collaboration with les bons faiseurs agency.
Shot during the blue hour, the actor is one with the disturbing love-hungry character he embodies in Sauvage, Camille Vidal-Naquet’s first feature, which competed in the 2018 edition of La Semaine de la Critique. Félix Maritaud plays Léo with candid animalistic energy; almost graceful, he’s an angel haunted by his demons.
In about 30 minutes the much-awaited Festival de Cannes press conference will take place and finally all gossip/buzz will be put to sleep when the Official Selection lineup becomes known. There are many great films that hope will make it to the competition as will give the festival the glitz that much needs after last year's Biennale stole much of it by allowing ALL films to compete and giving top award to a film that highly deserved to be seen by the whole world and not only a few cinephiles. Sigh.
A few days back organizers announced that none other than Mira Nair will be the patron of the 2019 edition. The following is what she said.
I was at Cannes for the world premiere of my film Salaam Bombay! [in 1988] - we won the Audience Award and the Golden Camera Award. I remember so many things about that film, but most of all that it was a life-and-death situation. It was almost impossible to make; we had no money. We would shoot all day and for every shot, we would have at least a thousand people watching the shoot. I would come home tired, to my flat, which I shared with several cast and crew members who also didn’t have a place to go at night. It was like a railway station. I would be up all night, on the phone with financiers and producers trying to raise money, sometimes for the next day of shooting.
Festival official poster has been unveiled and contrary to insistent rumors it has NOT Alain Delon in photo but none other than outstanding director Agnès Varda when she was 26-years-old in a behind the scenes photo from La Pointe Courte.
Below it's the original photo that generated a fabulous composition for the poster with hot colors in the background. My only problem with poster is the division of CAN and NES, which is a big No-No in branding. Anyway, montage and design was done Fore Maquin, signatures created by Philippe Savoir (Filifox), and photo owner is Agnès Varda and her children.
The official graphic design presentation has the following rationale.
This year I'll start my Wish List with films by female directors as in the buzz list there is an unusual number of them plus most films I'm truly interested in watching (with few exceptions) are made by them.
Still no official news about selections announcements but there is some speculation: Press Conference Official Selection on April 18, Semaine on April 22 and Quizaine on April 23. The only official announcement came yesterday with ACID selection on April 23, date is already in calendar. The closing date for submitting films was last Monday, March 11th so now the decision process has begun in full.
A few days back came the announcement of the fifteenth edition of the Atelier with 15 directors invited to attend the Festival de Cannes. Together with their producers, they will be able to meet potential partners, a necessary step to finish their project and start the making of their film.
The filmmakers are selected according to the quality of their project and that of their previous films, as well as on the state of progress of their finance plan. The program will enable them to gain access to international financing and speed up the production process.
As happens every single year, Cannes buzz starts during the Berlinale and gets louder when Berlinale ends. But this year there are good news, buzz seems to be a lot more intersting than last year as there are some strong filmmakers with movies ready to be screen in competition, out of competition, any other fest section or parallel section.
Then we have to consider that after 2018 fiasco, smaller changes could make fest a lot more interesting and well, better. No one will forget that thanks to French movie theaters owners, Netflix was banned and Roma was not accepted. So, Roma went to La Biennale only to win the Golden Lion and the rest is history. Much buzz (or is just plain gossip?) is going around about the discussions between festival organizers and Netflix but know problem is not Thierry Fremaux, who almost lost his job in 2017 due to this issue; problem is with the board of directors where there are a few movie theaters owners. Soon we will see the end to current year discussions and hopefully, Neflix films are included in competition and elsewhere or the 2018 story will repeat and films will again end-up in Venice to their truly delight.
Updating blog, this is the last post that needed update with winners.
The American awards season is over and boy, I'm truly glad is over as this edition was like a very unpleasant roller coaster ride with so many ups and downs that were hard to sustain and well, to accept. Sight.
So, there is no surprise when we saw the awards season closing with a top winner that will go to the must-forget cinema history annals; still, if one person from Oscars top winning film should be acknowledge was Octavia Spencer, who -of course- was not acknowledged at all. Yes, talking about Green Book.
But top individual award winner became Alfonso Cuarón by winning two top awards, Best Director and Best Cinematography plus his film winning Best Foreign Language Film.
Believe that what really upset many of those I follow on Social Media was the awful fact that there were too-many relevant Academy honors to two films that portrayed homosexuality in a non-flattering and what seemed (or is) non-realistic way (Green Book and Bohemian Rapsody). Yes, I tend to agree. If you don't agree let me point to The Favourite where the Queen of England was sleeping with not one but two women and gee, the film, the performances and the story were so magnificent that film "gayness" was not relevant at all thus making something "so-lesbian" into a stupendous "fact of life", "power struggle" or just a "capricious moment" (lol). Comprehend the difference?
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