75th Venice International Film Festival Lineup

As was not easy to gather info about films countries submitted to Oscars 2019, decided to do the two missing posts about the 2018 Biennale as it's a lot easier to check info from only one source.  This is the lineup, the second will list the award winners.

Let's start by sharing that the festival poster was made by Lorenzo Mattotti. Mattotti says the following about his design, "I believe that a poster must have something intriguing about it, that attracts the eye, that attracts thought, but without revealing too much. It needs to have a sort of enigma, a sort of mystery to solve. After various attempts, I developed this idea of a girl of this female character – with a very graphic, unrealistic face – who looks with a rather serious expression through a lens. And instead of this lens, there’s Earth, planet Earth, symbolizing a gaze directed at us. Then there is a white square, and I believe that this combination is a successful match, because people wonder: what is that white square? I believe it is natural to think of it as a movie screen, the white screen. The gaze directed on the planet, directed on reality, must pass through this device, must be filtered through the screen".

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71st Festival de Cannes Official Selection - Update 1

As announced during the press conference of April 12th, today, April 19, organizers announced the films added to the composition of the Official Selection 2018.

There is some relief to my not positive feeling that this year there is an incredibly great official competition jury and there are not many great films for them to select winners from.  But now things can change a bit as, ladies and gentlemen, please notice that Nuri Bilge Ceylan is as of now in the competition to win the Palme d'or and perhaps has become the top contender along Jia Zhangke.  Well, at least their films have become must-be-seen for me no matter whatever happens in Cannes.

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2018 Cannes Possible Films - The Buzz

As happens every single year, Cannes buzz starts during Berlinale and gets louder when Berlinale ends.  Even do been following the buzz since then this year haven't post anything as some of you guessed right, my life has changed and now it's not easy to keep on writing for you, loyal readers.  But no matter how many changes have happened or will occur, Cannes is Cannes for me and have to (or at least will try to) write my regular posts about the buzz, my wish list and all the other stuff done in the previous years.

No, this is not my Wish List but the usual compilation of possible films that could make it to Cannes which usually do in February but well, I'm doing it a month later and by now most industry publications have done their own lists, so it's not a novelty but will be a lot easier to make it, lol.

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#Cannes2017 Wish List - Part 2 - Prominent Diversity

As you can imagine, started to write post a while back and a few things have happened that wish to update you all.  First Official Selection submission closed on March 10 but Critic's Week deadline was extended until March 17 and Directors' Fortnight deadline is March 24 with no extensions announced up-to-this moment.

Yesterday reliable news agency AFP announced that the Official Selection press conference will be on April 13 in Paris.  Some industry journalists made extrapolations to estimate Quinzaine and Semaine press conferences but considering their submissions deadline seemed improvable to me. Today better estimates were published with Critic's Week press conference con April 24 and Quinzaine's on April 25.  So we still have a bit less than a month to play around with possible film speculations, buzz and gossip.  Next news from Official Selection has to be the opening film that probably will come before the end of March. End of Update.

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2017 Cannes Possible Films - The Buzz

Know we have three more months to Cannes but believe it or not many have already started to talk about the mother of all festivals perhaps was due to the perception that this years' Berlinale was on the soft side and the hope of Cannes to be strong. The good news is that there are good chances of a very strong lineup as there are master filmmakers that could have ready their films for Cannes and there is always the chance for Cannes second or more timers to go back with great movies.

No, this is not my Wish List but a compilation of possible films that could make it to Cannes. List is made from several Cannes articles plus some lists with most anticipated films of 2017, films I've been tracking and my daily readings.

As we all know, Cannes begins in Berlin, not in the red carpet but in the Industry Market, so it's no surprise that many articles appeared while the Berlinale was running and after the Berlinale Market was closed a few days back.

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#Cannes2016 Wish List - Part 3 Latin American Directors

Latin American cinema has some high film production markets like Mexico, Argentina, Brazil and Chile and most award winning films tend to come from those countries but lately markets like Colombia and Peru have become source of award-worthy films. With less local production but many interesting films we cannot forget Venezuela and Uruguay.

This bird-view summary to say that production is healthy in the region and many great directors have films ready to premiere during 2016; some hope will make it to Cannes while others hope will make it to any other film festival in the circuit.

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#Venezia72 Check No. 3 - Latin American Directors

Latin American cinema will be represented in this year's Venezia72 competition with two directors, well-known Pablo Trapero and Lorenzo Vigas with his debut feature film.

Pablo Trapero

Born on October 4, 1971 in San Justo, La Matanza, Buenos Aires, Argentina. Studied filmmaking at Universidad del Cine in Buenos Aires. He wrote, directed and edited short films and documentaries before directing his first feature film, award-winning Mundo Grúa (Crane World) that opened in 1999 Venice. A film that many claim was the breaking-point in Argentinean cinema as stimulated the creation of what now is known as New Argentinean Cinema.

In 2002, he opened his production company, Matanza Cine, that produces films for fellow filmmakers, as well as his own; his business partner is well-known actress Martina Gusman, who happens to also be his wife and muse. His second feature film El Bonaerense premiered in 2002 Cannes Un Certain Regard to critical and audience acclaim. After two locally acclaimed feature films, 2004 Familia Rodante that opens at Venice and 2006 Nacido y Criado that opens at Toronto, in 2008 he does the film that propels him to international recognition: Leonera (Lion's Den) starring none other than Martina Gusman.

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Day 6 - Cannes 2015

After the tumultuous yesterday, today feels like a very tranquil day in Cannes. Still today there are films that are must-be-seen for me. Perhaps what someone say in social media is true, today is the best cinema-day of the year as in one day some of you lucky Cannes people will be able to watch films by Apichatpong Weerasethakul and Miguel Gomes; me, I add Mizoguchi and Costa Gavras to the mix in an excellent cinema-day.

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2014 Cannes Check #12 The Last Check

The last 2014 Cannes Check is dedicated to two directors that have their films in Un Certain Regard. Both are well-known to me and have seen all their previous work.

#12.1 Céline Sciamma

Born on November 1980, she went to the very famous La Fémis (16th promotion) to study Scriptwriting! As a matter of fact she used her graduation thesis in her debut feature film, the fantastic Naissance des pieuvres that screened at Un Certain Regard in 2007 Cannes and went to win France's most prestigious award Prix Louis-Delluc for first feature film.

Her second feature film, Tomboy, was screened at the 2011 Berlinale and went to win the most prestigious LGTB cinema award, the Teddy Award. Her third feature film, Bande de Filles (Girlhood) is the opening film of the 2014 Quinzaine des Réalisateurs.

Some are calling her latest film the "last in a trilogy" about childhood, teenagers as film is another youth exploration in France that also applies to many countries around the world, just like her two previous films were, and are predicting that she will probably move on to new themes (sigh). As she said in a March 2014 France Culture interview "we return to adolescence, the end of adolescence" so perhaps is true and this film is the last of her youth trilogy.

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Paradies: Liebe (Paradise: Love)

A movie that polarized audiences after the premiere in competition at 2012 Cannes with some highly disliking film and others highly liking film; but seems that no matter whether they like/dislike it, all agree that film is grotesque.

Was a bit concern about watching this film as Ulrich Seidl's previous film Import/Export was one that I stopped watching when couldn't take anymore whatever was happening in the screen. But to my surprise, this time his film was engaging and easier to watch even when I also consider film to be grotesque. Why? Mainly because he portraits "something" not often seen in any cinema.

Because of the story many relate this film to Laurent Cantet's Vers Le Sud (Heading South) but in my opinion films have the same story essence, sex tourism, however they are two very different films; so different that have to remind you that I did not liked much Cantet's film while I liked Seidl's "ugly" portrait more than whatever I imagined.

In this "ugly" sense I relate this film to Carlos Reygadas' Batalla en el Cielo (Battle in Heaven) that has some very "ugly" and grotesque scenes; the basic difference is that Reygadas shows us a man with a younger woman while Seidl shows a woman with younger men. The not often seen "something" that Seidl shows in an almost documentary style are the many scenes with naked older, overweight women, which obviously many tend to consider "ugly" as doesn't fit contemporary and mainly cinema standards of "beauty". So perhaps now you will understand better when I say that this is not an easy to watch film for most general audiences as they are not used to watch "ugliness" in the screen.

There you have it, I said it as clear as I can. So with this issue out of the way, let's talk about the movie.

On the surface Paradise: Love tells the story of a flabby, divorced, lonely 50-year-old woman, Teresa, that for her milestone birthday goes to a beach paradise in Kenya looking forward to indulge in what a friend told her she will find there: sex. But with what seems like naiveté she was expecting more love than sex, more caring about her than plain physical contact, which obviously she will not find at a place with young men living out from the "white mamas". She was expecting love and was not able to play the sex-game. But film is more complex and layered than the surface story mainly because Seidl's storytelling/filmmaking style that show us scenes that contain what could be considered as humiliating, racist, blur between exploited/exploitation which recalls colonialism and more.

Film is visually outstanding, especially in indoor scenes, with fantastic use of color, light and very detailed static compositions; some definitively inspired by paintings, like one scene that absolutely recalls Manet's Olympia. Fantastic as absolutely eases whatever we are watching in screen. Then narrative is rooted in improvisation which along with some camera takes gives film the almost documentary style where film purpose is to document situations more than telling a story. But let me be clearer, there is a story here; a story that deals with complex emotional truths about sadness, cruelty and the search of happiness. Last, this is the best example I have seen that clearly illustrates the now famous "Ulrich Seidl Method".

Film tells only Teresa's perspective, so don't expect to see development in any other character played by actors and non-actors; but Margarete Tiesel (Teresa) performance is outstanding in every sense, from carrying on the entire film to what many non-European viewers/critics comment, daring to undress in the screen. The last comment I consider very superfluous and tied to their "beauty" and/or what is acceptable to be shown in the screen concepts; but include it as yes, I was caught off guard the first time she was in any state of undressing, but honestly soon enough I forgot about it. That's how good Tiesel performance is.

Absolutely understand why this film was in competition at 2012 Cannes, understand why audiences are polarized and definitively understand that film is NOT for general audiences. My best reference to recommend watching the film is that if you saw Reygadas' Battle in Heaven and the grotesque scenes did not bothered you, then maybe you will enjoy this film as much as I did.

Film is the first installment of a trilogy called Paradies (Paradise) about three women form one family (you will see them together at the beginning of this movie) with one exploring Love, another Faith and the last one Hope. Paradise: Faith, the second installment about Teresa's sister, was premiered in 2012 Biennale to "better" reviews and the last one, Paradise: Hope is about Teresa's daughter that somehow I imagine will premier at a major 2013 festival. Yes, I'm looking forward to the next installments but truth is that the first is a film that I could watch only once, so no Paradise marathons for me.

Enjoy!!!

Watch trailer @MOC

Beasts of the Southern Wild

I can appreciate this movie as has many great visuals, great hand held camera shots, not with a slowish pace, some tension building elements, good editing, good raw/realistic non-actor's performances and more great tech specs for a low-budget production; but graphically tells a story that for me is very hard to watch as no matter all the magical elements present or the "happy and uplifting" message, story is so unsettling that even made feel sick while/after watching and the feeling stayed with me for a too long time.

This movie has been called by many as an American Magic Realism representative as according to them shows reality and fantasy blended in a magical way. But let me share with you a brief description of Magic Realism.

In literature the term magic realism describes contemporary fiction, often from Latin America or the third world, whose narrative blends magical or fantastical elements with reality. Was coined early last century in Europe but got wider use later in an effort to differentiate the work of Latin American writers from the European Surrealist movement. Eventually the term was transferred from literature to other arts, including films. The key element is that the magic and the reality blend so flawlessly that readers cannot differentiate them or if they do, it does not matter to them.

I'm quite familiar with many of the very different Latin American cultures and as you can tell if you are a blog regular reader, I highly enjoy Latin American movies. In my experience I have seen beautiful magical realism in the movies of directors like Carlos Reygadas, Claudia Llosa, Alfonso Arau, Lisandro Alonso, and many others. Movies that exquisitely blend magic and reality to make watching a very enjoyable ride no matter what the story is all about and most stories are about very disturbing issues like discrimination, poverty, oppression, repression, abuse of power, bleak future, sexual taboos, etc.

In my opinion this movie does not blend magic and reality. What it does is to show us some magical moments and many raw reality moments, perhaps too many. My problem starts the moment I realize that to see many of the "real" things shown I just have to walk, drive for a while and I'll be able to see them for real. But it doesn't stay there. The "real" things are shown so barbarically raw in the name of creative license, of art, that become intolerable to watch; and say this considering the many films I have seen that show us very raw realism with NO magic at all.

But also believe that viewers from the so-called "first world" does not have the sensibility that viewers for the "other worlds" have regarding the issues shown and understand why they like the story as for them has a positive message of pride, choice, belonging, prevailing, overcoming, individualism, freedom, surviving, etc. When you read American critics and viewers reviews you notice that many talk about the "politics" in the story; some go as far as to give interpretations of what story is about when seen from the left and the right of the political scale. Others say that they are sure that many only got the evident message and the real message was lost in the "beauty" of film. But all end up praising the film and some foreseeing the possible awards that will collect in the American award season.

Yes, film as a film can be good, so good that captures you attention and holds it in a very hypnotic, mesmerizing way. That's why I was able to watch the entire film that otherwise would have stopped watching as soon as I started to feel sick. My honest feeling is that I wish I stopped watching, as I have no need or desire to see what is shown in film. It is undeniable that the story, the narrative is essential in filmmaking and many times a great story makes a great movie, conversely a terrible story makes a terrible movie no matter if everything else is good. So, is this movie good, no matter the story it tells? The answer is up to you. My answer is: no, as the whole gave me a not positive cinema experience.

Do I recommend the movie? No, I don't; especially for those viewers that are not from the "developed countries" as probably your sensibilities will be touched in a very negative way. Will this movie continue to collect honors in the American awards season? Probably, especially the young non-actor that is the lead character.

Sigh.

Watch trailer @MOC (but be aware that trailer has very beautiful images and do not tell much about story)

85th Academy Awards Foreign Language Film Submissions - Final

Today the Academy published the list with a RECORD 71 countries that have submitted films for consideration in the Foreign Language Film category. The post has become final.

Most amazing is that with only one exception, Bangladesh, all films have trailers or videos in the original language, many with English subtitles; so have an idea of what each film could be to better guess their possibilities beyond the favorites.

Was reading again Rule Thirteen: Special Rules for the Foreign Language Film Award and the only date clearly stated is the deadline for the second print, which is due the same day the nominations will be announced, Thursday, January 10, 2013 at 5 p.m. PT. So I have to assume that they have to give at least 2 or 3 days before the deadline to have the print shipped and this gives me the estimate that Friday, January 4th the shortlist of nine (9) films should be announced. If is not that day then has to be on Monday, January 7th.

This is a long list with many, many great films. Enjoy!

Afghanistan: سنگ صبور Syngue Sabour (The Patience Stone), Atiq Rahimi
Albania: Pharmakon, Joni Shanaj
Algeria: !زبانا Zabana!, Saïd Ould Khelifa
Argentina: Infancia Clandestina (Clandestine Childhood), Benjamín Ávila
Armenia: Եթե բոլորը (If Only Everyone), Nataliya Belyauskene
Australia: Lore, Cate Shortland
Austria: Amour (Love), Michael Haneke
Azerbaijan: Buta, Ilgar Najaf
Bangladesh: ঘেটুপুত্র কমলা Ghetuputra Komola (Pleasure Boy Kamola), Humayun Ahmed
Belgium: À perdre la raison (Our Children), Joachim Lafosse
Bosnia and Herzegovina: Djeca (Children of Sarajevo), Aida Begic
Brazil: O Palhaço (The Clown), Selton Mello
Bulgaria: Кецове Kecove (Sneakers), Ivan Vladimirov and Valeri Yordanov
Cambodia: ឃ្លាត​ទៅ​សែន​ឆ្ងាយ (Lost Loves), Chhay Bora
Canada: Rebelle (War Witch), Kim Nguyen
Chile: No, Pablo Larraín
China: 搜索 (Caught in the Web), Chen Kaige
Colombia: El Cartel de los Sapos (The Snitch Cartel), Carlos Moreno
Croatia: Ljudožder vegetarijanac (Vegetarian Cannibal), Branka Schmidta
Czech Republic: Ve stínu (In The Shadow of the Horse), David Ondříček
Denmark: En Kongelig Affære (A Royal Affair), Nikolaj Arcel
Dominican Republic: Jaque Mate (Check-Mate), José María Cabral
Estonia: Seenelkäik (Mushrooming), Toomas Hussar
Finland: Puhdistus (Purge), Antti Jokinen
France: Intouchables (The Intouchables), Olivier Nakache and Eric Toledano
Georgia: Keep Smiling, Rusudan Chkonia
Germany: Barbara, Christian Petzold
Greece: Άδικος Κόσμος Adikos kosmos (Unfair World), Filippos Tsitos
Greenland: Inuk, Mike Magidson
Hong Kong: 奪命金 Duo Mingjin (aka Dyut Ming Gam) (Life Without Principle), Johnnie To
Hungary: Csak a szél (Just the Wind), Benedek Fliegauf
Iceland: Djúpið (The Deep), Baltasar Kormákur
India: बर्फी Barfi!, Anurag Basu
Indonesia: Sang Penari (The Dancer), Ifa Isfansyah
Israel: למלא את החלל Lemale Et Ha'Chalal (Fill The Void), Rama Burshtein
Italy: Cesare deve morire (Caesar Must Die), Paolo and Vittorio Taviani
Japan: かぞくのくに Kazoku no kuni (Our Homeland), Yong-hi Yang
Kazakhstan: Жаужүрек мың бала Zhau Zhurek Myn Bala (Myn Bala: Warriors of the Steppe), Akan Satayev
Kenya: Nairobi Half Life, David Tosh Gitonga
Kyrgyzstan: Pustoi Dom (The Empty Home), Nurbek Egen
Latvia: Golfa straume zem ledus kalna (aka Golfstrim pod aysbergom)(Gulf Stream Under the Iceberg), Yevgeny Pashkevich
Lithuania: Ramin, Audrius Stonys
Macedonia: Трето полувреме Treto poluvreme (The Third Half), Darko Mitrevski
Malaysia: Bunohan, Dain Iskandar Said
Mexico: Después de Lucía (After Lucia), Michel Franco
Morocco: موت للبيع Mort à vendre (Death for Sale), Faouzi Bensaïdi
Netherlands: Kauwboy, Boudewijn Koole
Norway: Kon-Tiki by Joachim Rønning and Espen Sandberg
Palestine: لما شفتك Lamma Shoftak (When I Saw You), Annemarie Jacir
Peru: Las Malas Intenciones (The Bad Intentions), Rosario García-Montero
Philippines: Bwakaw, Jun Robles Lana
Poland: 80 milionów (80 Millions), Waldemar Krzystek
Portugal: Sangue do meu Sange (Blood of My Blood), João Canijo
Romania: După dealuri (Beyond the Hills), Cristian Mungiu
Russia: Белый тигр Belyy Tigr (White Tiger), Karen Shakhnazarov
Serbia: Кад сване дан Kad svane dan (When Day Breaks), Gorana Paskaljevića
Singapore: Already Famous, Michelle Chong
Slovakia: Až do mesta Aš (Made in Ash), Iveta Grófová
Slovenia: Izlet (A Trip), Nejc Gazvoda
South Africa: Umfaan (Little One), Darrell Roodt
South Korea: 피에타 Pieta, Kim Ki-Duk
Spain: Blancanieves, Pablo Berger
Sweden: Hypnotisören (The Hypnotist), Lasse Hallström
Switzerland: L'enfant d'en haut (Sister), Ursula Meier
Taiwan: 逆光飛翔 (Touch of the Light), Chang Rong-ji (aka Chang Jung-chi)
Thailand: ฝนตกขึ้นฟ้า Fon Tok Kuen Fah (Headshot), Pen-Ek Ratanaruang
Turkey: Ateş'in Düştüğü Yer (Where the Fire Burns), İsmail Güneş
Ukraine: ТойХтоПройшовКрізьВогонь (Firecrosser), Mykhailo Illienko
Uruguay: La Demora (The Delay), Rodrigo Plá
Venezuela: Piedra, Papel o Tijera (Rock, Paper, Scissors), Hernán Jabes
Vietnam: Mùi cỏ cháy (The Scent of Burnt Grass), Nguyễn Hữu Mười

Watch trailers @MOC

My Comments from Updates

9/29
As of this moment ALL countries with large cinema industry have announced their submissions. Until next Monday, October 1st deadline maybe there could be announcements from smaller cinema industry countries.
This is the last update until AMPAS announces the official list with accepted submissions and post becomes final. Usually list is published between one/two weeks after the deadline. So expect final list before October 15.
Think this year will do a brief analysis of all submitted and accepted films, but until then can share that this year there are many submitted films from the major three festivals and as of this moment, most come from the Berlinale, second place is Cannes and third is Venice. Top award winners at these three festivals: Golden Bear, Palme d'Or and Golden Lion were all submitted to Oscar this year.
Up to this moment have been able to identify nine (9) films by female directors, which I believe could be a record, but have to confirm it. My spontaneous impression is that there are quite a few films about or related to "old age" and also to "children" stories. There is one film with some lesbian interest and one with clear gay interest.
But most interesting is that list has many films that are must be seen for me, most come from festivals but there are a few that don't. My viewing queue has become larger but have a whole year to try to see films I'm interested in watching. Great!
9/18
Was hoping for Audiard, would not have mind Leos Carax, but France sending a mainstream movie?! Not pleased, as there were so many great movies. Still I know selection is a crowd-pleaser and maybe will charm older Academy members in the committee. Not good news for me. Sigh. Besides, don't be surprised if this film ALSO makes it to the Best Film category as "Beyond the Foreign Language Oscar race, US distributor Harvey Weinstein has also stated he would like to enter Intouchables for Best Picture Oscar." We all know what happens when Weinstein is behind a film. Double Sigh.
9/16
Pulled post up as for the next two weeks we will learn most if not all the submissions. The "experiment", or the map at bottom of post, is getting many views since yesterday. I'm still learning how to add more info to each country, so expect that each will have more info soon. Thanks for visiting.
9/13
Category getting very complicated for me as has more GREAT (well, my favorite) directors. Today Kim Ki-duk joined Haneke and Mungiu. Now let see if list grows to include Audiard and Reygadas... that could make this year competition very interesting, just imagine a festival with these directors competing for one top award. Not even Cannes can do it, so maybe Oscar.
9/9
Pulled up post. Was thinking if wouldn't be interesting if this year the category will have Haneke, Mungiu plus Jacques Audiard all competing for one award? Also think that Audiard was robbed in the same year as Haneke. If France sends Rust & Bone then my thinking will be real, but there is another film that everyone is betting will be this year France Oscar entry. Soon we will see what happens.
9/6
List is growing fast and I'm pulling post up. Most are commenting that the winner is already in this list. Yes, Amour has ALL the right credentials to appeal Academy foreign-language committee members, that tend to be NOT young. I do not mind at all that Michael Haneke gets an Oscar as he should have one by now (Remember Caché controversy? and/or The White Ribbon?).
Then today Romania announced their submission and Cristian Mungiu joined the competition, he ALSO should have one by now (remember the controversy that changed the rules in the category?). Mungiu was robbed then and maybe now they will give him the Oscar for both films, why not?
But truth is that nothing is predictable in this category thanks to the voting process.
9/1
As September begins is time to do the first update to bring the post up and get it ready to go very busy as is during September when most countries publish their official announcements. As many like to say and I modify for this category, the "World Race to Oscar" has started and one of the most iconic lists of great world films is in process to be final by early October when the Academy publishes the official list. Five films have been already announced and estimate that at least 55 more will be added soon. Cheers!
P.S. Thank You for the email with Poland tip! Much appreciated. The tally is up to six films.
8/15
Today decided to do some predictions for this category and got the pleasant surprise that one country already has announced their submission which makes today a good day to start this traditional post that will have multiple updates until the Academy announces the official list.

An experiment

Have to thank each and everyone that saw the experiment (map) and I'm pleased to announce that will do it next year as map had twice the visits of this post.


View 85th Academy Awards Foreign Language Film Submissions in a larger map

60th San Sebastian Film Festival Lineup

Been waiting for the official site to publish complete info and finally is up in English. Lineup with a few exceptions seems interesting as has some films that are must be seen for me, but I knew about many before the fest officially announced them. According to what I see in the fest official site the fest will screen a total of 230 films.

Here are the films in the three main competitive sections of this festival that will run from September 21st to 29th.

Official Selection

Opening Film: Arbitrage, Nicholas Jarcki, USA
All Apologies, Emily Tang, China
El Artista y La Modelo, Fernando Trueba, Spain
The Attack, Ziad Doueiri and Joelle Touma, Lebanon, France, Qatar, Belgium
Blancanieves (Snow White), Pablo Berger, Spain and France
Le Capital (Capital), Costa-Gavras, France
Dans La Maison (In The House), François Ozon, France
Días de pesca (Gone Fishing), Carlos Sorín, Argentina
Die Lebeden (The Dead and The Living), Barbara Albert, Austria, Poland and Germany
Fasle Kargadan (Rhino Season), Bahman Ghobadi, Turkey and Iraqi Kurdistan
Foxfire, Laurent Cantet, France and Canada
Hypnotisören (The Hypnotist), Lasse Hallström, Sweden
El Muerto y Ser Feliz (The Dead Man and Being Happy), Javier Rebollo, Spain, Argentina and France
Venuto al Mondo (Twice Born), Sergio Castellitto, Italy and Spain

Jury
President: Christine Vauchon, producer USA
Mia Hansen-Løve, director, France
Julie Taymor, director, USA
Agusti Villaronga, director, Spain
Ricardo Darin, actor, Argentina
Peter Suschitzky, cinematographer, Poland
Michel Gaztambide, screenwriter,

Out of Competition

Closing Film: Quartet, Dustin Hoffman, UK
Argo, Ben Affleck, USA
¡Atraco!, Eduard Cortés, Spain and Argentina
The Impossible, Juan Antonio Bayona, Spain

New Directors

7 Cajas (7 Boxes), Juan Carlos Maneglia and Tana Schembori, Paraguay
Animals, Marçal Forés, Spain
Carne de Perro (Dog Flesh), Fernando Guzzoni, Chile, France and Germany
Chaika (Seagull), Miguel Ángel Jiménez, Spain, Georgia and Russia
Cores (Colors), Francisco Garcia, Brazil
Draussen Ist Sommer (Summer Outside), Friederike Jehn, Germany and Switzerland
Los Increíbles (The Incredibles), David Valero, Spain (documentary)
Le Jour des Corneilles (Day of The Crows), Jean-Christophe Dessaint, France and Belgium (animation)
Layali Bala Noom (Sleepless Nights), Elaine Raheb, Lebanon, Dubai, Qatar, Palestine and France
El Limpiador (The Cleaner), Adrián Saba, Peru
The Love Songs of Tiedan, Hao Jie, China
Parviz, Majid Barzegar, Iran
Rocker, Marian Crisan, Romania, France and Germany
Shell, Scott Graham, UK
Shesh Peamin (Six Acts), Jonathan Gurfinkel, Israel
Silent City, Threes Anna, Netherlands, Luxembourg, Belgium
Viceværten (A Caretaker's Tale), Katrine Wiedemann, Denmark

Jury
President: Katayoon Shahbi, producer, Iran
Radu Muntean, director, Romania
Demetrios Matheou, writer and film critic, UK
Lourdes Oñederra, writer, Spain
Diana Sánchez, TIFF programmer and now IFF Panama Artistic Director

Horizontes Latinos

Opening Film: Infancia Clandestina (Clandestine Childhood), Benjamín Ávila, Argentina, Spain and Brazil
Aquí y allá, Antonio Méndez Esparza, Mexico, Spain and USA
El Bella Vista (The Bella Vista), Alicia Cano, Uruguay and Germany (documentary)
La Demora (The Delay), Rodrigo Plá, Uruguay, Mexico and France
Despues de Luicia, Michel Franco, Mexico
Era Uma Vez Eu, Veronica (Once Upon A Time Was I, Veronica), Marcelo Gomes, Brasil
Joven & Alocada (Young & Wild), Marialy Rivas, Chile
La Playa, Juan Andrés Arango, Colombia, Brazil and France
Post Tenebras Lux, Carlos Reygadas, Mexico, France, Germany and Netherlands
Salsipuedes, Mariano Luque, Argentina
La Sirga, William Vega, Colombia, Mexico and France
El Ultimo Elvis, Armando Bo, Argentina and USA

Jury
President: Jorge Dexler, musician, Uruguay
Fernanda del Nido, producer, Argentina
Sandro Fiorin, producer

Ewan McGregor, Tommy Lee Jones, and John Travolta will receive the Donostia Award as well as Dustin Hoffman and Oliver Stone the Special 60th Anniversary Donostia Award. To check films info for above sections plus films in other sections go here.

Definitively Castellitto film calls my attention but I'm puzzled with the casting; been following everything about Paraguay's 7 Boxes as seems film is my kind of film; glad to find a new Marian Crisan movie that seems to have great visuals - similar to Mungiu's latest film. Lasse Hallström and Laurent Cantet films are highly attractive for me, as well as became really interested in Bahman Ghobadi's film. But most interesting to find a new Rodrigo Plá movie plus the latest Costa-Gavras film that instantly become must be seen for me.

As we know the FIPRESCI Grand Prix for Best Film of the Year is given at the fest opening gala; FIPRESCI already announced the film and is none other than Amour (Love) by Michael Haneke. From the Thematic Retrospectives, worth mention is the In Progress - Ten Years With Latin America Cinema as for those that enjoy non-traditional cinema from the region, films to be screened make a great list to check films you may have forgotten, list is here.

Day 8 - 69th Venice International Film Festival

Some interesting films but what really surprised me as was very unexpected is how elegant young Hollywood actresses look today at their film photocall; check photos at the end of post.

Venezia 69

Bella Addormentata (Dormant Beauty) by Marco Bellocchio

Definitively must be seen for me not only because is a Bellocchio film but also for the outstanding cast that includes Toni Servillo, Isabelle Huppert and Alba Rohrwacher. The three stories rotate about a not easy to watch and highly controversial (especially in a Catholic country) theme, euthanasia; that's why Eluana Englaro's, Italian famous cause-celebre, six last days are the frame where movie moves. The synopsis.

The film takes place in various parts of Italy over six days, which are Eluana Englaro’s last and whose story remains in the background. The stories of fictional characters from different faiths and ideologies are connected emotively to that case, in an existential reflection on the reasons for living life and for hope despite everything. A senator has to choose whether to vote for a law that goes against his conscience or not, going against the party line, whilst his daughter Maria, an activist in a pro-life movement, demonstrates outside the clinic where Eluana is being treated. Roberto, alongside his brother, is on the opposing secular front; an “enemy” who Maria falls in love with. Elsewhere, a great actress looks to her faith and a miracle to save her daughter, who has been in an irreversible coma for years, and for whom she has sacrificed her relationship with her son. Finally, there is the desperate Rossa who wants to die, but a young doctor called Pallido opposes her suicide with all his might. And against all expectations, at the end of the film, there is a reawakening...

Somehow surprising is to learn that film has wry humor, but then I came to realize that definitively will ease whatever we will see in movie. It is clear to me that Bellocchio's vision of Englaro's case will be emotional, as emotional as situation was for him. This is what Servillo said in a interview.

E' un film che piuttosto che occuparsi dell'aspetto fisiologico del coma, si occupa del coma dei sentimenti. Si occupa del coma delle idee, di un'anarcosi generale che viene raccontata come una possibilità di risvegli.

Plus see what Bellocchio says in the director's statement.

The film stemmed from the powerful emotions (and amazement) I felt at the death of Eluana Englaro. However, I also felt that this involvement risked limiting my imagination; I felt that it was necessary to broaden the horizon... I waited for two years and in that time the other stories were developed that were not far from Eluana’s but independent of it. They were “fished” from a distant time, from my whole life, childhood, adolescence, family, Catholic education, political compromise, moral principles. They came from the need to be consistent with one’s ideas, from the refusal to give up when faced with a life in danger that nevertheless retains all the potential for recovery and rebirth. Without Eluana dying there would be no Bella Addormentata (Dormant Beauty), who wakes up.

Has to be emotional. Films inspired in controversial real-events usually become also controversial and don't doubt that film will not be the exception. Still according to Italian media, film was received with applauses, so there is hope that film will not be that hard to watch.

Spring Breakers by Harmony Korine

Not really interested in watching this film because of cast (really dislike James Franco) and director, as I didn't liked his 2007 film Mister Lonely. But since is in competition decided to talk a little about it to share what is being said in the Net about film.

Headlines from "serious" reviewers (English and non-English) are not positive while some trendy English-speaking reviewers tend to say that film is great, even if is the director's most mainstream film and style. The last comment is important to conceptualize inside Korine's world as even his most mainstream will be really further away from standard mainstream movies.

I imagine film will become a cult movie in American Indie cinema, as many of Korine's film have become. My suggestion: watch at your own risk, as film has been labeled as bordering teen-ish porn. Sigh.

Out of Competition

O Gebo e a Sombra by Manoel de Oliveira

Can't say that I'm a director's fan but for sentimental reasons have to see Jeanne Moreau and Claudia Cardinale in the big screen as has been so long especially the last one. Also here great Michael Londsdale. Story could not be easy to watch but then the spoken language perhaps makes it easier as film is in French. The synopsis.

Gebo lives with his wife and his daughter in law, his only son’s wife, in a humble house. Their son has been silent in a while, to the mother’s despair. The father suspects his son is devoting himself to not so commendable activities, but he does what he can to keep it from his wife. The daughter in-law takes care of them as if they were their own parents. Nonetheless, she waits for her husband. Suddenly one night the son shows up. The mother believes in his return, but the father has no illusions. Intentionally or not, the father doesn’t hide the colossal amount of money he’s been keeping, belonging to the company in which he works as the treasurer. His son shamelessly steals from him. The father has no choice and keeps from his wife their son’s fraud against his employer...

From what I have seen film seems like theater and seems I'm not that lost as somehow there may be a relationship according to the director's statement.

The idea for this film stemmed from having been approached by a friend who asked me to make a film about the poor. Yes, that was a good idea, but making a film about the poor isn’t easy. Subsequently I recalled Samuel Beckett’s play, Waiting for Godot, which was highly discussed by the most prominent intellectuals. Accordingly, José Régio, who had always been a quite farseeing critic, reminded that, after all, Raul Brandão’s play, The Hunchback and His Shadow, was already the anticipation of what would become Beckett’s Waiting for Godot. Which leads me back to Brandão’s The Hunchback and His Shadow, because despite being a play from the past century it easily adapts to our current situation, both ethically and economically, without any preconceptions. On the contrary—it remains contemporary and universal. Also, it’s not the first time I’m using France as the scenery of my films. The film is spoken in French. I’m a great admirer of France, a country which invented the cinematographer which gave birth to many works of art, essential today and in the future, I suppose. As the great Mexican director Arturo Ripstein said: “Cinema is the mirror of life.” Besides my acknowledgement of France as the country of invention, I also have a personal debt to the French critics as they welcomed my first film presented at the 5th Congress of Film Critics, in Lisbon, in 1931.

No matter the story or film style, the great cast makes movie highly appealing to me.

Venice Days

Heritage (Inheritance) by Hiam Abbass

I'm huge fan of Hiam Abbass performances and her debut as a filmmaker makes me very curious to learn her vision translated into the screen. Still, film is must be seen because Abbass also performs in what I call a classic story about Palestinians living in Israel explored thru human/family drama. The synopsis.

A Palestinian family living in northern Galilee gathers to celebrate the wedding of one of their daughters, as war rages between Israel and Lebanon. When the father falls into coma and inches toward death, internal conflicts explode within the family - secrets are revealed and lies are unmasked.

Have seen many films with similar stories and could watch many more. But, not often we have the opportunity to see this story told by a woman director, much less from a Palestinian born in Israel as Abbass describes herself. An excerpt from her comments.

As a Palestinian born in Israel, I´ve always wondered about my identity as a woman and an artist who grew up in a traditional society. I felt I was on the margins of non-Arab society in Israel, foreign to its tradition and ways of functioning. Yet I felt just as alienated from traditional Arab society laden with conservative values. The Palestinians of Israel are torn between tradition and modernism. They feel partially excluded from Israel, and therefore try to preserve what is left of their traditions in order to protect this threatened Palestinian identity. They embrace these traditions in a strong family structure that gives them the impression of creating a "true home" In this context, the men take power over the women, giving them little room to build their independence as individuals. Women are forced to fight for a certain form of equality. The path followed by the main character (Hajar) is similar to mine.

Hajar is played by none other than Hafsia Herzi, an actress that I also enjoy. As I imagined film had to be a very personal vision. Great. What do I expect from film? Great performances in a difficult family drama that reflect larger -political, social- conflicts.

International Critics' Week

No Quiero Dormir Sola (She Doesn't Want to Sleep Alone) by Natalia Beristáin

Lately have been very interested in learning more about the "new wave" of Mexican filmmakers that definitively are doing very unconventional films while telling not that uncommon stories. I have not enjoyed all films that have seen but do recognize that there is "something" going on in Mexico cinema, a new movement that is gestating and comes after what I call the "Carlos Reygadas movement". Very interesting indeed.

Finding this movie in the most unconventional section of any festival makes me think that Natalia Beristain probably belongs to the above trend, but also according to the movie clips I have seen in several director's interviews. The synopsis.

Amanda lives in a flat offered by her father, a famous actor with whom she is in bad terms. Although she has grown up in affluence, she is now adrift without a stable job. Besides this, she has also a psychological problem: she cannot sleep alone. Every night, she looks for someone to sleep with her, but the next morning this person is felt like a burden to her. This fragile balance is further shaken when she has to assist her grandmother, once a famous actress, and now an old person facing alcoholism and Alzheimer. Grandmother and granddaughter will slowly get to know each other to discover their respective human and affective spheres.

As expected story seems common, ordinary; how the story is told is what I believe it will matter. One of the few Latin American films in this year festival had a full theater plus collected applauses after the press screening. Italian media praises film and "unexpected" end. Good. Could this film be the Opera Prima award winner? Maybe.

News

The 2012 Robert Bresson Award for lifetime achievements went to Ken Loach.

Not So Serious

Let's start to speculate. More than half of the 18 films in competition has been screened, some with speculation that could be fest top award winner. If jury behaves like Italian and international media then NO doubt that the front contender for this year top award is The Master and not surprisingly both Joaquin Phoenix and Philip Seymour Hoffman are contenders for the Copa Volpi. Also a contender, Toni Servillo for any/both of his performances. Strangely enough there has not been much buzz about the Best Actress or Best Director, as seems media hasn't been impressed until today. But jurors do not behave like media and doubt that in their minds The Master is the movie to beat from first position.

Photos

Young Hollywood invades Venice. Very well-dressed and elegant Vanessa Hudgens and Selena Gomez.

65th Festival de Cannes Award Winners

Great ceremony with great awards, some will not be pleased, but I am.  To check winners at official site go here. The Jury gave a post-awards press conference I suggest to watch to learn some reasons why they gave the awards to the honored films. Go here.

Main Competition

Palme d’Or: Amour (Love), Michael Haneke, France, Austria, and Germany

Grand Prix: Reality, Matteo Garrone, Italy and France

Jury Prize: The Angels’ Share, Ken Loach, UK and France

Best Director: Carlos Reygadas for Post Tenebras Lux, Mexico, France, and Netherlands
Best Screenplay: După dealuri (Beyond the Hills), Cristian Mungiu, Romania

Best Actress: Cosmina Stratan and Cristina Flutur in După dealuri (Beyond the Hills), Cristian Mungiu, Romania
Best Actor: Mads Mikkelsen Jagten (The Hunt), Thomas Vinterberg, Denmark

Camera d’Or: Beasts of the Southern Wild, Benh Zeitlin, USA

Short Films
Palme d’Or: Sessiz-be Deng (Silent), L. Rezan Yeşilbaş, Turkey

Un Certain Regard

Un Certain Regard Prize: Después de Lucía, Michel Franco, Mexico
Special Jury Prize: Le Grand Soir, Benoît Delépine and Gustave Kervern, France
Special Mention: Djeca (Children), Aida Begić, Bosnia Herzegovina
Un Certain Regard Award for Best Actress (tie): Suzanne Clement in Laurence Anyways, Xavier Dolan, Canada, France and Emilie Dequenne in A Perdre La raison (Loving without Reason), Joachim Lafosse, Belgium, Luxembourg, France, and Switzerland

Quinzaine des Réalisateurs (Directors' Fortnight)

Feature Films
SACD Prize: Camille redouble (Camille Rewinds), Noémie Lvovsky, France
Special Mention: Ernest et Celestine, Stéphane Aubier, Vincent Patar and Benjamin Renner, France, Belgium and Luxembourg
Arte Cinema Prize: No, Pablo Larraín, USA and Chile
Label Europa Cinemas Prize: El Taaib, Merzak Allouache, Algeria and France

Short Films
Illy Prize: The Curse, Fyzal Boulifa,UK and Morocco

Carrosse d'Or: Nuri Bilge Ceylan

Semaine de la Critique (Critic's Week)

Feature Films
Grand Prize: Aquí y Allá, Antonio Méndez Esparza, Spain, USA and Mexico
Visionary Award: Sofia’s Last Ambulance, Ilian Metev, Germany, Croatia and Bulgaria
SACD Prize: Les Voisins de Dieu (God's Neighbors), Meni Yaesh, Israel and France
ACID/CCAS Support: Los Salvajes (The Wild Ones), Alejandro Fadel, Argentina

Grand Rail d'Or: Hors les murs (Beyond the Walls), David Lambert, Belgium, Canada and France

Short Films
Best Short Film: Circle Line, Shin Suwon, South Korea
Special Mention: O Duplo (Doppelgänger), Juliana Rojas, Brazil
Discovery Award: Un Dimanche matin (A Sunday Morning), Damien Manivel, France
Petit Rail d'Or: Ce n’est pas un film de cow-boys (It’s not a Cowboys Movie), Benjamin Parent, France

Cinéfondation

First Prize: ДОРОГА НА Doroga na (The Road To), Taisia Igumentseva,VGIK, Russia
Second Prize: Abigail, Matthew James Reilly, NYU, USA
Third Prize: Los Anfitriones (The Hosts), Miguel Angel Moulet, EICTV, Cuba

The Atelier Arte Prize: In Your Name by Marco van Geffen, Netherlands, Germany and France

Collateral Awards

FIPRESCI Awards
Main Competition: В тумане V Tumane (In the Fog), Sergei Loznitsa, Germany, Netherlands, Belarus, Russia and Latvia
Un Certain Regard: Beasts of the Southern Wild, Benh Zeitlin, USA
Quinzaine des Réalisateurs: Rengaine (Hold Back), Rachid Djaidani, France

Ecumenical Jury Award: Jagten (The Hunt), Thomas Vinterberg, Denmark
Special Mention: Beasts of the Southern Wild, Benh Zeitlin, USA

Prix de la Jeunesse: Holy Motors, Leos Carax, France
Prix Regards Jeunes: Beasts of the Southern Wild, Benh Zeitlin, USA

Prix François Chalais: Les Chevaux de Dieu (God’s Horses), Nabil Ayouch, France, Morocco, Tunisia

Queer Palm
Feature Film: Laurence Anyways, Xavier Dolan, Canada and France
Short Film: Ce n’est pas un film de cow-boys (It’s not a Cowboys Movie), Benjamin Parent, France

Palm Dog: Banjo and Poppy in Sightseers, Ben Wheatley, UK

Day 10 at 2012 Cannes

Yesterday was not an easy day for me as was really hard to learn everything I learned about Reygadas film. I suppose you can say that I'm a director passionate fan and reading the negative press reactions was not pleasant at all. The great news is that after the Grand Theatre Lumiere premiere the film got a long standing ovation, suggesting that critics and audiences are on different sides of the like scale. I'm really glad and congratulate the director.

I do this intense daily fest coverage for very personal reasons as is a way to force me to learn something about every single film in the fest. I want to learn about films because these films is what I'll be watching during the next calendar year, the ones that make me very happy when I finally watch them and the ones in the top of my watching queue. It's an exercise that I have been doing for a long time, before I started this blog, when was relatively easy to read print materials and the few available net articles; then everything exponentially exploded when the fest opened their web site and every year they have been adding more and more great information.

But this year things got really crazy thanks to Twitter as critics' and almost anyone that is in Cannes or not had something to say about the fest. People have become really comfortable using Twitter and is great to be able to read critics' spontaneous reactions that later are rationalized (and many times changed) when they write the article. I simply love it as makes me feel that I'm following a process, a "creative" process, an experience that in my wildest dreams never imagined I will be able to have. Of course you need to establish a criteria -very fast- as not everything you see in Twitter is reliable.

I'm exhausted but very happy with my learning experience that, yes had a few drawbacks. This year it was impossible for me to learn about the many short films in the fest, but as soon as I recuperate my strength after next Sunday, I'll go back to learn something and maybe will share with you all.

I thank all my loyal readers from always as well as the new ones, including those that come just to grab a photo, and let's start today daily coverage. Cheers!

Main Competition

Cosmopolis by David Cronenberg

I do enjoy films by David Cronenberg, a director I follow no matter what movie he does as I have several films that I didn't liked and somehow disappointed me but didn't made stop watching his films. His last film before Cosmopolis, A Dangerous Method was a movie that I did not enjoyed much plus did not liked actors' performances. An introduction that I think was missing from what I said in my spontaneous expectations regarding this film that you can read here.

I delayed as much as possible watching movie videos as imagined that great Juliette Binoche was not going to be in them. I was right. Sigh. Photocall is noisy as expected so lower the volume and watch only to see the known actors and meet new -to me- actors. Oh! just realize that the two women are Sarah Gandon and Emily Hampshire the winners of the first Birks Canadian Diamond award.

TVFestival de Cannes has the group which also includes Cronenberg, Pattinson and Giamatti. Cronenberg dark prediction: film became a documentary. Expectation is confirmed, Pattinson is in every scene of the film. Oh gosh, Pattinson rambling answers are as bad as when he is performing (and I'm being very objective), Cronenberg comes to his help with clear precise answer. Gandon shines, can't remember her from A Dangerous Method. Giamatti is good as always, Cronenberg asked him not to read the book. Watch for entertainment purposes as you will learn very little from the movie.

Press conference has more people, two producers, novelist Don DeLillo and the screenplay writer. DeLillo has nothing to do with the script, so I ask, why is he in Cannes? Then Cronenberg says the book and the film are two different things. Oh gosh, gossip say that Stewart is awkward -awkwardness that I like, but Pattinson is worst and not in a positive way. Pattinson answers improve, become more interesting, with more info, good... but then his mind wanders, his mouth rambles and the awkwardness prevails. True, Gandon was also in Brandon Cronenberg film, she talks about similarities and differences. Like DeLillo comments about the white limousines in Manhattan. Suddenly got the impression that Pattinson hasn't grown from his Harry Potter times, odd. You will learn a few things about movie and I believe no matter what you hear or read, nothing will give you an accurate idea -or spoiler- to what you'll see in film. Suggest to watch video, mainly to "meet" Mr. DeLillo.

Got curious about novel and read a bit; learned that was received with mix reviews, most are negative. Hmm, maybe I'll read the novel, as yes story is interesting for me.

Red carpet HAS Juliette!!! OH!!! Great!! Stop showing Pattinson, go to Juliette please! Oh! Thank you!!! Every time I see her she looks younger, marvelous. Can't wait to see the photos and you know who has to be at the bottom of this post. He, he very emotional but sincere comments. Sigh. Watch to see the cast/crew plus very elegant Juliette Binoche; also young actresses look remarkably good.

We know that Cronenberg has a long history with Cannes, but lately his films have been more honored by being in the official selection than winning awards; so I don't know if this film will follow the trend or will win him another award and don't feel like speculating before watching the film.

If I believe Twitter pulse then probably will have to eat all my words regarding Pattinson as reliable critics' are saying he is good in here.  Nevertheless film seems to be on the lower side of acceptance, but then maybe critics' are just tired, as their reactions are different to premiere audiences reactions.

V Tumane (In the Fog) by Sergei Loznitsa

I have a love/hate relationship with this director as I would simply LOVE to see his films and I truly HATE the fact that I haven't seen any. His films are impossible to find near me and I'm still "dying" to be able to see 2010 My Joy with those breathtaking images that I know are also in his newest film.

I expect not to be able to watch film for years and to miss what seems like extraordinary storytelling style telling interesting stories that to my eyes and imagination seem to belong to Russia and other countries of the old USSR. This is the synopsis.

Western frontiers of the USSR, 1942. The region is under German occupation, and local partisans are fighting a brutal resistance campaign. A train is derailed not far from the village, where Sushenya, a rail worker, lives with his family. Innocent Sushenya is arrested with a group of saboteurs, but the German officer makes a decision not to hang him with the others and sets him free. Rumours of Sushenya’s treason spread quickly, and partisans Burov and Voitik arrive from the forest to get revenge.
As the partisans lead their victim through the forest, they are ambushed, and Sushenya finds himself one-to-one with his wounded enemy. Deep in an ancient forest, where there are neither friends nor enemies, and where the line between treason and heroism disappears, Sushenya is forced to make a moral choice under immoral circumstances.

Suggest to watch clips here and use the link to the director's site to explore his magnificent body of work.

Photocall introduces me to the cast, but not to the director that I knew from his 2010 visit to Cannes with My Joy. TVFestival de Cannes is interesting for answers from Loznitsa like, (paraphrasing) I've seen the film with eyes of a director... today will see film for the first time with regular spectator eyes... hope I understand it; which is perhaps the best answer I heard from all directors in fest and ever. Actors praise director. Suggest you watch it even when there is a question about the first scene that I tried not to listen.

Press conference also has the producer. Director continues to give great answers, this is not a war movie is a people movie. Oh! book writer story, interesting. Loznitsa does not want to comment about the political situation, which is highly appropriate in this venue and/or relating to the movie. I'm starting to understand the language... and directors great answers continue. German producer also gives sharp answers. Gosh, what a great answer to a journalist that wants to know what film is about. Grrr film has everything I like in films, very frustrating to know that won't see it fast. Suggest you watch this video and also the red carpet to meet more cast/crew.

Needless to say that film is Must Be Seen. Loznitsa history with Cannes is short but covers all his 2 feature films as he used to do only documentaries. If one director I wish will win the Palme is Loznitsa that really can use the Cannes exposure to promote his films.

Un Certain Regard

Gimme The Loot by Adam Leon

Film seems to me like good representative of American indie cinema, a cinema with many films that I don't like and a few that positively surprise me when I dare to watch them. Don't know if this film will surprise me or if I'll dare to watch, but somehow the graffiti element in the story calls my attention. The synopsis.

Malcolm and Sofia, two determined teens from the Bronx, are the ultimate graffiti-writers. When a rival gang buffs their latest masterpiece, they must hatch a plan to get revenge by tagging an iconic NYC landmark, but they need to raise $500 to pull off their spectacular scheme. Over the course of two whirlwind, sun-soaked summer days, Malcolm and Sofia travel on an epic urban adventure involving black market spray cans, illicit bodegas, stolen sneakers, a high wire heist, and a beautiful, rich girl’s necklace that is literally their key to becoming the biggest writers in the City.

Unfortunately film stills plus clips make me think that film will be one of the last in my watching queue.

11・25自決の日 三島由紀夫と若者たち 11.25 Jiketsu no Hi: Mishima Yukio to Wakamonotachi (11.25 The Day He Chose His Own Fate) by Kōji Wakamatsu

Clips and film stills allow me to know that visually I'll enjoy this film, but story absolutely calls my attention. The synopsis.

"If we value so highly the dignity of life, how can we not also value the dignity of death No death may be called futile." - Yukio Mishima

On November 25th 1970, a man committed ritual suicide inside the Tokyo headquarters of the Japanese Ministry of Defence, leaving behind a legacy of masterpieces and a controversy that echoes to this day. The man was Yukio Mishima, one of Japan’s greatest and most celebrated novelists. With four members of his own private army - the Tatenokai - Mishima had taken the commandant hostage and called upon the assembled military outside the Ministry to overthrow their society and restore the powers of the Emperor. When the soldiers mocked and jeered Mishima, he cut short his speech and withdrew to the commandant’s office where he committed seppuku - the samurai warrior's death - tearing open his belly with a ceremonial knife before being beheaded by one of his colleagues.
What was Mishima truly trying to express through his actions? And what did he witness during his final moments?

Will watch film the moment it comes near me.

Closing film: Renoir by Gilles Bourdos

I'm always concern with movies about painters as most of them have not pleased me with directors' vision on how to blend the bio part with the painter magnificent oeuvre. Can't deny that I'm concerned with this film but as always I'll be watching especially when is a biopic from one of my most admired painters. Not really familiar with director but film stills stimulate my visual imagination and just hope that when stills move the magic will still be there. The synopsis.

The Côte d’Azur. 1915. In his twilight years, Pierre-Auguste Renoir is tormented by the loss of his wife, the pains of arthritic old age and the terrible news that his son Jean has been wounded in action. But when a young girl miraculously enters his world, the old painter is filled with a new, wholly unexpected energy. Blazing with life, radiantly beautiful, Andrée will become his last model, and the wellspring of a remarkable rejuvenation.
Back at the family home to convalesce, Jean too falls under the spell of the new, redheaded star in the Renoir firmament. In their Mediterranean Eden - and in the face of his father's fierce opposition - he falls in love with this wild, untameable spirit... and as he does so, within weak-willed, battle-shaken Jean, a filmmaker begins to grow.

Film closes the section but winners will be known on Sunday, unless Twitter allows to learn them before.

Out of Competition

Hemingway & Gellhorn by Philip Kaufman

Great news that the director of films that I highly have enjoyed has a new movie, as his last one -that I didn't particularly liked- was released in 2004; but who can forget The Unbearable Lightness of Being or Henry & June? Not me as both are in my collection to visit and revisit.

Hemingway & Gellhorn is a TV movie, an HBO production which only makes me really happy as know will be watching very soon as film will premiere May 28th at 9:00pm EST on HBO. Great!

I'm curious about this movie because not only want to know why movie is in Cannes -believe is the second TV movie in recent times (or ever?) after Carlos- but also because Nicole Kidman stars in a role that she agreed yesterday at press conference, is the opposite to the one she played in The Paperboy. Then story seems interesting as stated in the synopsis.

Hemingway & Gellhorn recounts one of the great romances of the last century - the passionate love affair and tumultuous marriage of literary master Ernest Hemingway and the trailblazing war correspondent Martha Gellhorn - as it follows the adventurous writers through the Spanish Civil War and beyond. The combined magnetism of Hemingway and Gellhorn ushered them into social circles that included the elite of Hollywood, the aristocracy of the literary world and the First Family of the United States. As witnesses to history, they covered all the great conflicts of their time, but the war they couldn't survive was the war between themselves.

Film suggest to be more a Gellhorn than Heminway tale, which if true, could be a fascinating biopic about a remarkable and brilliant woman, a journalist/war correspondent that covered many important history events; like for example, the civil wars of Central America or the US invasion of Panama when she was 81-years-old.

I have not liked all Nicole Kidman movies but I'll watch everything with her in it, let's hope that this is one performance I like, the Cannes credentials make me think that film has to have something special. Then also hope that is not in the Official Selection only to honor Philip Kaufman work. I'll find what this movie is all about in a few days which will make it my first Cannes movie of the year. Great.

Suggest to watch Red Carpet video if just to watch Nicole Kidman, Clive Owen and Rodrigo Santoro. Nicole looks a bit tired but then she has worked hard for two days in a row.

Special Screening

Le Serment de Tobruok (The Oath of Tobruk) by Bernard-Henri Lévy and Marc Roussel

I'll be perhaps too honest about this movie that to me seems is included in the official selection more as a well-intended political statement than because of the quality of the movie. I say this because IF Cannes is willing to every year include a well-intended political statement -which I do approve-, THEN I might be wrong about what I feel and already said about Cannes absence of women directors.

IF Official Selection is partial to real awful political situations around the world, THEN the selection could be partial to women directors' and create a space to screen movies not because movie-quality but to improve women directors' exposure. Even if is only ONE movie, the void, the vacuum will be filled and the much needed women directors' exposure will start to be present in the fest.

With all this out of my system, let's talk about movie that has impressive credentials behind the making. What absolutely captures my attention is the possibility of watching "something" that has French philosopher Bernard-Henri Lévy vision, but know that film -or better said: intellectual/historic document- will be visually hard-to-watch and that will not come near me easily.

Cinéfondation

Short Films Program 4 with the last three shorts, Derrière-moi les oliviers (Behind Me Olive Trees) by Pascale Abou Jamra, Los Anfitriones (The Hosts) by Miguel Angel Moulet, and Tambylles by Michal Hogenauer

Winners will be announced today. If you wish to 'meet' this year directors' suggest to watch video here. Winners have been announced by Jean-Pierre Dardene, jury president, see post to learn them.

Cannes Classics

A Great Day in Harlem by Jean Bach

An interesting documentary dedicated to Art Kane's legendary photography with all the greatest names in jazz in the 1960s. Suggest to read fascinating story of that 1958 day and the background behind Bach's 1994 documentary. A brief summary is here.  This is the synopsis.

In August 1958, the young photographer Art Kane made his first photo report and cover for Esquire. He managed to mobilize the big names of jazz artists in Harlem for a photo shoot. 57 jazzmen and jazzwomen are for ever in this historical picture. The film A Great Day in Harlem is about this event.

As a huge jazz lover and photography fanatic this documentary joins two of my most intense passions, thus is a Must Be Seen for me. Documentary screening is preceded by two short films, All Colored Vaudeville Show by Roy Mack and Jammin' The Blues by Gjon Mili.

Cinéma de la Plage

Red Tails by Anthony Hemingway

Film was released last January but I'm not really interested in watching another version of the famous Tuskegee Airmen. But if you are interested, suggest to read article here.

Around the Selection

Masterclass with Philip Kaufman

Usually Cannes has only one Masterclass and is only this year that there were three. The usual lesson is about directing and this year is American director Philip Kaufman turn. If you wish to read more about Kaufman go here.  As we know his latest film, Heminway & Gellhorn is screened today out of competition.

Quinzaine

Closing Film: Camile Redouble (Camille Rewinds) by Noemi Lvovsky

The fifth film by 2003 prestigious Prix Louis-Delluc winner, 1999 Prix Jean-Vigo winner and her 1994 debut film was screened at the Berlinale; impressive directorial credentials for this also well-known actress that I last saw in Bonello's L'Apollonide - souvenirs de la maison close and I'm looking forward to watch in 17 Filles, plus much awaited by me Les Adieux Les Adieux à la reine.

With the above introduction you have no doubt that this film is Must Be Seen for me so even when is not necessary will tell you that I'm also attracted to film story and don't really mind if film is a comedy. The synopsis.

Camille was sixteen years old when she met Eric. They fell madly in love and had a daughter… 25 years later: Eric is leaving Camille for a younger woman. That’s New Year’s Eve, and Camille suddenly finds herself back in her past.
She is sixteen again and has returned to her parents, her girlfriends, her childhood… and Eric. Will she flee and try to change the course of their lives? Will she fall in love with him again, even though she knows how their story will end?

I know that synopsis will probably make you think about an American movie, Peggy Sue Got Married; but I can assure you -before watching- that if stories are similar, in the hands and head of a French director will be told very differently.

Awards ceremony

As we know the parallel section does not have awards to films in the selection; but besides some films competing for the Camera d'Or, section sponsors present awards. So tonight during the closing ceremony and before the screening of the closing film, we will learn the Art Cinema (CICAE) award, the SACD prize, the Europa Cinemas Label and the Illy Prize winners. If you wish to learn more about these awards go here.Winners are in the Quinzaine main post.

Semaine de la Critique

Today section screens all award winner films.

L'ACID

The last film in the section, Stalingrad Lovers by Fleur Albert with a synopsis that describes a style I like but doubt will watch because story essence. The synopsis.

A neorealist film noir that makes us discover the real life of crack dealers and users. From dealers chasing customers to addicts waiting for product, everyday life on the street is about surviving, or dying.

If you wish to learn more about film suggest you watch clip here.   Again films in this section never come near me as most does not get distribution. There are no awards in this section as surely the "award" for any film here is finding buyers; nevertheless tonight there is a closing event with a concert by Jean-François Pauvros, the musician that composed Stalingrad Lovers score.

There are some films that I skipped but will come back after Sunday to check them, but if you wish to learn about all films go here.

Cannes News

Today the Institut national de l'audiovisuel (INA) honored Nanni Moretti with a "Distinction Numérique", an award that gives him the totality of his broadcast and radio appearances in France and has more than 20 hours from almost 90 sources. INA's archive is one of my favorite reference sites that I suggest you to check, link is the first column.

The most fun Cannes award has been announced! This year Palme Dog goes to Banjo and Poppy, two Terriers in Ben Wheatley's Sightseers, screened at the Quinzaine.

Not-so-serious comments

Very wealthy people attended the amfAR's Cinema contre le sida gala as the foundation registered an historic record when 9 millions of Euros were pledged. The foundation was created by Elizabeth Taylor and yes there are two guests that pledged 850,000 Euros each to star in Karl Lagerfeld short but also an hour of tennis with Novak Djokovic got a significant pledge.

French press plays and takes their crystal ball to predict winners; le Figaro predicts Audiard will get the top award and Mungiu the grand prix; Nicole Kidman and Mads Mikkelesen with actors' awards. Actually predictions sound good to me.

Very FUN to read today's post by Steve Butterworth with the up-to-date results of his "Cannes Twitter Awards", the result of tracking Twitter news about Cannes for the last couple of weeks. Suggest you check post here.  Here are some highlights.

Which Films got the most BUZZ: In first place with 10,243 mentions, On The Road.
Which Film got the most LOVE: In first place with 94% positive sentiment, On The Road; but interesting is to find that overall positivity rating for Cannes has been very high averaging 84% positive sentiment.
People that got the most BUZZ: Not surprising for me (lol), with 14,894 mentions is Kristen Stewart. If you wonder, Pattinson is the fifth in the list.

Then the social media craze for celebrities is confirmed when out of 320K tweets, 67% are celebrity mentions versus 33% film mentions.

Photo of the Day

Impossible to find a free Julitte Binoche photo where she is alone, so here are some couples from tonight Cosmopolis premiere.