Fraulein - Ein Detusches Melodram

The last made for TV movie by Michael Haneke before doing his first big screen film (later he did two more made for TV movies) is a film that honestly really confused me. My first spontaneous reaction was that this movie does not fit what I have in my head regarding Haneke as to me film looks and feels quite normal. Yes found film to be similar to several European movies from those years (the eighties) and before, as film is set in the near past, post-WWII and there was nothing I could find that told me this was a Haneke film. Sigh. But that doesn't mean at all that I didn't enjoy watching this unusual melodrama, a film that to enjoy it you have to really recall many movies, some cinema history and some WWII history, I'll explain later.

Then I started to read about this movie and what follows is a mix of what I read and what I saw in film. Let's start by sharing that this film is considered by some cinema academics as the "response" to Rainer Werner Fassbinder's Die Ehe der Maria Braun (The Marriage of Maria Braun) and perhaps it is as definitively this film looks like what Haneke said: "a deliberate attempt to create a counter-film against the heroizing of German postwar mentalities". In this film the lead role Anna, played by Angelica Domröse, is more concerned with her life and the inconveniences that came when his husband, believed to be dead, suddenly returns to the small German village; which is very different than the patriotic view that predominated in post-war set German cinema. I don't really remember Fassbinder's film as saw it a very long time ago, but maybe will see it again to see with my own eyes the two films relationship.

Nevertheless from what I read, what got my attention is that cinema academics claim that with this film Haneke "overcame" his Fassbinder "obsession". If factual, then we have to thank this film that helped Haneke to develop his own particular master style.

As mentioned film tells the story of Anna, who has a good life 10 years after her husband, Hans, became a POW in Russia. Film starts with Hans family discussing that is time to declare Hans dead, Anna's refusal and showing us how happy life was for this family in this sleepy German village. Anna has two teenage children, works/owns a movie theater and has a companion, Andre, who is accepted by all her family, including her in-laws. Everything changes when she gets a letter from the association of war returnees, telling her that Hans is returning home. Not a bad story, even when only seen in the surface, without analyzing the movie clips, the historic events and news seen in the movie theater and other screens.

If something I discovered after reading about film is that film is complex, very complex. To me contemporary Haneke's films have been quite easy to decode, but this one was not, even when I'm familiar with many -not all- the movie clips and other elements shown in film. Maybe now that I learned so much about this movie I could watch it again to decode all elements; so, I do recommend you read as much as possible about this movie before watching as surely will help to enjoy more film. Unlike previous Haneke's TV movie I posted, this film has many references and analysis that you can easily find in the net.

Spontaneously film as a film bothered me a lot because editing which I found intrusive instead of explanatory, which is not at all how contemporary Haneke's films are. But film has many absolutely beautiful compositions that are truly visually stunning and yes, is a black and white film that only at the end, for a few minutes, becomes full color.

Would I be talking like the above if film was not a Haneke film? No, probably not; but it is a Haneke film and had to learn more about film before writing and yes, surely will watch film again but have to wait a while as watching two Haneke's films in one day was too much, I knew it but couldn't resist watching. Sigh.

If you enjoy Haneke's contemporary work then this film is must be seen for you but as mentioned, suggest you read about film before watching; if you enjoy classic European melodramas then I know you could also enjoy this film.

I'm still amazed that this is a made for TV movie (German TV) as definitively does not look or feel like that; film looks and feels like big screen movies from the seventies and eighties, like many films from great French, Italian, and German directors. Truly surprising as before watching these two Haneke's films perhaps the best TV related film was 1989 Dekalog miniseries; but have to admit that I haven't seen Fassbinder's made for TV movies. If you wish to see film, use the link provided in previous Haneke's made for TV movie post.

Enjoy!!!

Tbilisi 8th International Film Festival

This festival held in Georgia started last Monday and will end on December 9th. This are the films they will screen.

Opening Film
FLANDERS - Bruno Dumont, France, 2006
Closing Film
THE WIND THAT SHAKES THE BARLEY - Ken Loach, Ireland / UK / Germany / Italy / Spain / France, 2006

International Competition
A MAN'S JOB - Aleksi Salmenperä, Finland, 2007
ALL I KNOW ABOUT LOLA - Javier Rebollo, France / Spain, 2006
FATA MORGANA - Simon Gross, Germany, 2006
MAGNUS - Kadri Kousaar , Estonia / UK, 2007
MY FATHER MY LORD - David Volach, Israel , 2007 - Winner of the FIPRESCI Prize
PINGPONG - Matthias Luthardt, Germany, 2006
SIMPLE THINGS - Aleksei Popogrebsky, Russia , 2006 - Winner of the Silver Prometheus
SONHOS DE PEIXE - Kirill Mikhanovsky, Brazil / Russia / USA, 2006
THE RUSSIAN TRIANGLE - Aleko Tsabadze, Georgia, 2007
THE TRAP - Srdan Golubovic, Serbia / Germany / Hungary , 2007
TRICKS - Andrzej Jakimowski, Poland, 2007- Winner of the Golden Prometheus and the Parajanov Award

Forum of European Cinema
CZECH DREAM - Vít Klusák, Filip Remunda, Czech Republic, 2004
EGG - Semih Kaplanoglu, Turkey / Greece, 2007
GALLE ROAD: THE VOLUNTEER DIARIES - Alexander Kamionsky, Sam Klebanov, Vasily Maslennikov, Sweden / Russia , 2006
HEADING SOUTH - Laurent Cantet, France / Canada, 2005
I’M NOT HERE TO BE LOVED - Stéphane Brizé , France, 2005
JUST ABOUT LOVE? - Lola Doillon , France , 2007
KOROLYOV - Yuri V. Kara, Russia, 2007
LIGHTS IN THE DUSK - Aki Kaurismäki, Finland / Germany / France, 2006
MONOTONY - Juris Poskus, Latvia , 2007
NOTES ON A SCANDAL - Richard Eyre, UK, 2006
ONE OF ME - Salome Jashi, UK, 2006
PEDRA.A REPORTER WITHOUT BORDERS - Villi Hermann, Switzerland, 2006
READY AND DONE - Inese Klava, Latvia , 2006
ROMANCE OF ASTREA AND CELADON - Eric Rohmer, France / Italy / Spain, 2007
TEODORS - Laila Pakalnina, Latvia , 2006
THE EMPIRE OF EVIL - Mohammad Farokhmanesh, Germany, 2007
THE LOST MAINLAND - Nana Ekvtimishvili, Germany, 2007
VICTORY - Renger van den Heuvel, The Netherlands, 2007
WAITER - Alex van Warmerdam, Netherlands , 2006

Horizons
BRANDO - Mimi Freedman, Leslie Greif , USA, 2007
I DON’T WANT TO SLEEP ALONE - Ming-liang Tsai, Taiwan / France / Austria, 2006
SEX AND PHILOSOPHY - Mohsen Makhmalbaf, France / Iran / Tajikistan , 2005
STILL LIFE - Zhang Ke Jia, China / Hong Kong, 2006
TAKESHIS’ - Takeshi Kitano, Japan, 2005
TIME - Ki-duk Kim, South Korea, 2006
TUYA'S MARRIAGE - Wang Quanan, China , 2006

Made in Germany
A FRIEND OF MINE - Sebastian Schipper, Germany, 2006
FOUR MINUTES - Chris Kraus, Germany, 2006
LONGING - Valeska Grisebach, Germany, 2006
ONE WHO SET FORTH: WIN WENDERS' EARLY YEARS - Marcel Wehn, Germany, 2007
WILD CHICKS IN LOVE - Vivian Naefe, Germany, 2007
YELLA - Christian Petzold, Germany, 2007

Unifrance: Masters’ Collection
A STORY OF WATER - Jean-Luc Godard, François Truffaut, France , 1958
ALL THE BOYS ARE CALLED PATRICK - Jean-Luc Godard, France, 1959
LOVE EXISTS - Maurice Pialat, France , 1961
OVERTIRED - Jacques Doniol-Valcroze, France, 1957
THE BAKER OF MONCEAU - Eric Rohmer, France , 1963
VERONIQUE AND HER DUNCE - Eric Rohmer, France, 1958

Unifrance: New Collection
ANGEL! DREAM! - Eric Vanz de Godoy, France , 2006
CUT! - Alain Riou, France, 2006
EVEN IN DREAMS - Alice Taylor , France , 2006
HONEY MOON - François Breniaux, France, 2006
IT’S IN THE AIR - Yohann Gloaguen, France, 2005
PEN-PUSHER - Guillaume Martinez, France , 2006
QUIET! - Fanny Franssen, France , 2005
SHADOW OF VEIL - Arnaud Demuynck, France / Belgique, 2006
THE DINNER - Cécile Vernant, France , 2006
THE RED JACKET - Anne Flandrin, France , 2003
THE WHITE WOLF - Pierre-Luc Granjon, France , 2006
TIME OF CHERRY - Jean-Julien Chervier, France , 2005

Transcaucasian Documents
0,047% OF LAND - Gela Kandelaki, Georgia, 2007
AKHMETELI 4 - Archil Khetaguri, Georgia / Romania, 2006
All-IMPORTANT - Liana Jaqeli, Georgia , 2007
AMERICA IN A SINGLE ROOM - Davit Kandelaki, Georgia, 2007
BASIS - Mirsadyg Agazadeh, Azerbaijan, 2007
BLOSSOMING OF ROSE AND POMEGRANATE - Irakli Kochlamazashvili, Georgia / Russia, 2007
ELDAR SHENGELAIA’S EXTRAORDINARY EXHIBITION - Nino Axvlediani, Georgia, 2006
EXODUS - Nika Shek, Karine Verdyan , Armenia, 2007
FORGOTTEN PORTRAIT IN INTERIOR - Vakhtang Kuntsev-Gabashvili, Georgia, 2006
FRAGMENTS FROM TAO-KLARJETI HISTORY - Karlo Ghlonti, Levan Ghlonti , georgia, 2006
GEORGIAN MAMELUKES IN EGYPT - Merab Kokochashvili, Georgia, 2007
HOME AND BACK - Levan Ghlonti, Georgia, 2006
ISLAM IN GEORGIA - Buba (Ramaz) Khotivari, Georgia, 2007
PERI GALA - Ilgar Safat, Mikail Mikailov, Azebaijan, 2007
RETURN OF THE POET - Harutyun Khachatryan, Armenia, 2006
RETURNING TO GOBUSTAN - Ilgar Safat, Azerbaijan, 2007
ROBIKO STURUA - Manana Anasashvili, Mikheil Basinov, Georgia, 2007
SHORT MONOLOGUES - Shamil Najafzada, Azerbaijan, 2003
SILENSE - Shorena Tevzadze, georgia, 2007
SUNNY NIGHT COLOURS - Niko Tsuladze, georgia, 2007
WESTERN ARMENIA – LOST MOTHERLAND - Hayk Harutyunyan, Armenia, 2007

Georgian Panorama
16+ - Mariam Katsarava, Georgia, 2006
6 PICTURE OF A UNIVERSE - Bidzina Kanchaveli, Germany / Georgia, 2007
A LEGEND ABOUT WINE - Vladimer Sulakvelidze , Georgia / Germany, 2006
ANGALO - Vladimer Sulakvelidze, Georgia / Russia, 2006
C'EST LA VIE - Rusudan Chkonia, Georgia, 2007
GOLDFINCH - Vladimer Sulakvelidze , Georgia / Russia, 2007
GRANDPA FROM KUTAISI - Zaza Kolelishvili , Georgia, 2007
HOW THE MOON APPEARED - Vladimer Sulakvelidze , Georgia / Russia, 2006
POPPY SEASON - Sandro Jandieri, Georgia, 2006
REVOLUTION - Vano Tvauri, Georgia, 2007
SMALL CITY - Davit Iashvili, Georgia, 2006
SUBORDINATION - Archil Kavtaradze, Georgia, 2007
THAT'S HIM - David Apkhaidze, Georgia, 2006
TRIGGER TIGER - Salome Machaidze, Georgia / Germany, 2006
TWO MUSICIANS - Nikoloz Bezhanishvili, Georgia, 2006
WORDLESS LOVE - Maia Burduli, Georgia, 2007

Special Screening
PIROSMANI - Giorgi Shengelaya, Georgia, 1969
PRATER - Ulrike Ottinger, Austria / Germany , 2007

Rainer Werner Fassbinder
CHINESE ROULETTE - Rainer Werner Fassbinder, West Germany / France , 1976
LILI MARLEEN - Rainer Werner Fassbinder, West Germany, 1980
THE MARRIAGE OF MARIA BRAUN - Rainer Werner Fassbinder , West Germany, 1979

Bob Rafelson’ Masterclass
FIVE EASY PIECES - Bob Rafelson, USA, 1970
THE KING OF MARVIN GARDENS - Bob Rafelson, USA , 1972
THE POSTMAN ALWAYS RINGS TWICE - Bob Rafelson, USA / West Germany , 1981

These are the awards that will be given in the closing ceremony.

Golden Prometheus for the best film
Silver Prometheus for the best direction
FIPRESCI prize
Parajanov prize for the outstanding poetic vision

To check all the movies and fest info go here.

Sangre

The first feature film by Amat Escalante is good but according to me is very far away from Carlos Reygadas excellent films. What I just said means nothing more than an effort to separate both filmmakers from each other, even when they had worked together in movies like Batalla en el Cielo and Carlos Reygadas is the producer of Escalante’s films. So, with this said lets talk about Sangre.

Seems there is a trend in world cinema to do more films in which apparently “nothing happens” until something does. I’m particularly thinking about some Romanian movies as well as from other European countries. Sangre is a film that seems to follow this trend.

For non-regular art cinema lovers this film will seem like there is nothing happening in most of the picture and almost in the end “something” happens that if you’re not alert you could miss it, until the main character Diego does something that clearly explains what happened.

But while you may feel that “nothing is happening” as you’re watching the life of an absolutely ordinary working class couple that leads a mundane existence there is actually a lot happening. The thing is that everything is happening not with words but with facial expressions and with what they do in their ordinary lives. So, I could say that is not an easy to watch movie as you really have to pay attention to things that you usually take for granted in most movies.

The movie tells about Blanca that works in a Japanese fast food joint and Diego that works in an unmentioned government office counting the people that enter the office. Both are married and submerged in a banal existence that does not leave their everyday routine of sleeping, eating, working, watching TV and having emotionless sex. If they speak it will be monosyllables or because they argue. Nothing is exciting in their lives anymore and no one is doing something to change it. Both are stuck in a senseless relationship and life, and both are not aware of the senselessness or care for that matter. Does this seem familiar to some of you? I believe it does, either you have someone you know living like this or you have seen it from afar. There most be many couples in the world living like Diego and Blanca.

Such senseless existence can only be shown in one way; slowly showing the very senseless details of an ordinary –and very common- existence and that’s exactly what this movie does. In a way I do relate the storytelling technique that Escalante used to that Rainer Werner Fassbinder movie Why Does Herr R. Run Amok? a movie that bores you as much as Mr. R. life is and you not only get the main simple message but you also live and feel it while watching. If you open your mind you will get the straightforward simple message in Sangre and you will also be able to live and feel the tediousness of a senseless and ordinary existence.

As in the Fassbinder movie where almost at the end something terrible happens, Sangre also has something bad happening at the very end. But unlike Fassbinder movie, here the something bad unfolds like their own existence: in a senseless way.

Everything that I have mentioned about the story could no be well told if actors performances were not outstanding as well as directing, editing, framing, cinematography, etc. What’s really remarkable is that all actors are non-actors (for example, Diego was Escalante’s real life neighbor) and that Escalante was able to extract from them such good performances. I also find outstanding the “dry” humor sparkled allover the screenplay written also by Escalante.

Cinematography was very good but not breathtaking (that’s one thing that separates Reygadas from Escalante according to me) with the exception of one or two scenes that where truly spectacular, the film looks and feels like ordinary urban settings, which highly contribute to the ordinary and senseless story, but not to viewer’s pleasure.

The movie has multiple honors in fests and awards allover the world that includes the FIPRESCI Award and being in competition at the Un Certain Regard section at 2005 Cannes.

I enjoyed the movie very much but I recognize that could be a very exhausting experience –against an entertaining experience- so, the film absolutely is not for all audiences but only for those that enjoy extremely slow paced (some scenes are real time), not easy to sustain and get behind the obvious and “new” cinema style in totally art house movies.

Enjoy!!!

P.S. Sangre means blood in Spanish, but there is no red blood in this movie. The main relation I find is to blood relatives, as Diego gets into something bad with one blood relative and there is a crucial and symbolic scene where what it looks like a father and a son were physically fighting. Yes, this movie is full of symbols too, like the cows in the garbage dump or the rotten fruits that fall from the tree.

Warum läuft Herr R. Amok? (Why Does Herr R. Run Amok?)

Fassbinder himself described this movie as “the most disgusting film I ever made” and well he is the co-director and he knows very well why he’s saying this.

Never seen a movie that so cleverly shows mediocrity in the everyday life of an average middle class man that has an average job with average colleagues, average boss and an average family. Let me tell you more. See Herr R. (Kurt Raab) has a wife and a child, a medium-size rental apartment, he owns a TV set, and comfortable furniture completes his middle class existence. His work at home and in the office fulfills him, hobbies offer him a change; and then Herr R. loves peace and quiet. The machinery of everyday routine functions. At work – Herr R. is an engineering draftsman – the colleagues are nice, his boss (Franz Maron) is content, his wife (Lilith Ungerer) picks him up every day after work in their car. He corrects his son’s homework, invites the in-laws and an old school friend on Sunday afternoons, a promotion is in sight. Everyone is happy. It appears that without too much mental or physical complaint, Herr R.’s self-realization will be possible. Then one evening – a neighbor (Irm Hermann) has just stopped by – Herr R., like a machine, attacks his wife, child, and neighbor. Okay I gave spoilers, but with a title like that you surely guessed what the movie is about before I told you.

That’s exactly what you will see and it will be absolutely boring. While you watch scene after scene and hear dialogue after dialogue, you will be bored to death and sometimes, only sometimes you will laugh at the jokes and feel excited about the good possibilities Herr R has for the future. You almost want to kill the DVD and the TV. But then, that’s exactly what Herr R lives and does in this film with mainly improvised dialogues, so when the movie is over you realize that you end up being him. Extraordinary! After all, is you the viewer who will be able to answer the question that the movie title asks, with all your reactions to Herr R tedious, bland and insipid life.

I don’t know about you readers but I always disliked mediocrity, average, the middle, the median, and so many other words used to describe that someone or something belongs to what predominates. I always found it boring and disgusting. So is no surprise if I absolutely agree with co-director and script draft co-writer Rainer Werner Fassbinder that this film is very disgusting.

But is such an extraordinary film that if you sustain its totality and reach the end you will be able to feel how average or conventionalism can be deadly fatal. Okay I’ll say it; the film is a very caustic critique to middle class.

This film absolutely is not for all audiences and those that enjoy serious cinema perhaps half will love it and half will hate it. Me, I love it even if it was quite hard to reach the end… perhaps as hard as it was for Herr R.

Enjoy!

29th Teddy Award Winners

Tonight they had the awards ceremony and party with no real surprises as all winners have gay interest.  No surprise because almost all films in selection had that interest so was obvious that there was no chance to lesbian interest films. (LOL)

Winners are in *Blue. To check winners and jury statements at official site go here.

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30th Teddy Awards News

The Teddy Award is being presented for the 30th time on February 19th, 2016 at the Berlin International Film Festival. Over the past 29 years of its existence it has become an important and respected emancipation award.  There are many news so post it's long, enjoy!

As some of my friends had doubts about why is the 30th time believe that the following will clear the doubts and if not, please dear friends be so kind as to count with your fingers (lol!) to realized that 2016 will be the 30th time.

A Brief History

When the first TEDDY was awarded in 1987, there was not even a ceremony.

Mini-sized teddy bears from a department store were placed in envelopes and sent to the then unknown directors Pedro Almodóvar in Spain and Gus Van Sant in the USA.

Neither of them has forgotten this and they both remain loyal friends of the TEDDY. And this was the beginning of the success story of a film prize that, despite all initial homophobic accusations, has developed into one of the Berlinale’s largest events over the years.

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Day 10 at Cannes 2014

This morning the last movie of the festival was screened to the press, so by now film critics that still are in Cannes will have seen all the movies in the competition as major film critics tend to see all the in competition films and a few of the other films in the sidebars. Consequently the first thing I did today was to check the tallies to see which/who were their favorites to win awards. Seems that the critics "fight" is between Winter Sleep and Adieu Au Langage. But the last time I checked the jury composition, there is NO film critic as a member, so the filmmakers and actors jury members probably will have some differences with the critics.

Today is the last day of the festival and of the daily coverage here as tomorrow we will be talking about the award ceremony; then is adieu Cannes, until next year. As you will see today there are not many movies as yesterday La Semaine de la Critique closed and today we have the award ceremonies of Un Certain Regard and la Quinzaine des Réalisateurs.

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Day 6 at 2012 Cannes

Continues to rain in Cannes and is a busy day with great movies in competition and the sections. First day with three films screened in the main competition, all Must Be Seen for me for very different reasons.

Today we are Half-Way the festival, news that only makes me sad... sigh.

Main Competition

Like Someone in Love by Abbas Kiarostami

Today decided to go backwards of what I usually do as I start with films in main competition and go down the post; but today Kiarostami film is the last film I'll comment before posting. In a way, I'm very pleased with my decision as by now I now press reactions which allows me to start writing about this movie with a different perspective. Still if you wish to learn my spontaneous expectations please go here.

I don't have to tell my loyal readers how much I admire Kiarostami films and how much I know his films are not for all audiences but for those that love the word ART in their films plus don't mind being challenged by what you see. If most of what I seen around leans to the not positive, surely is because they are not familiar with director style, they are sleep-deprived at Cannes or simply are blue thanks to terrible weather; as if you know Kiarostami style you have to expect Kiarostami style in this film, and seems only a few were expecting it and got it. Are you going to be one of the later? I do not know, but I know that I am.

Most not-positively impressed with Cannes news headline from press conference news reads "My film has no beginning and no ending" which makes me wonder about the question he got from the press that will hear in a while when I see the press conference video; but then for me his answer is a given, something that I expect from this and many other directors that tell a moment in the lives of the characters, where you have to imagine -if you wish- what happened before and what could happen after. Yes I know this is too challenging for many, especially those that tend to enjoy mainly mainstream movies.

Will stop to speculate about the non-positive headlines, twits and comments and let's get into the videos that hopefully will explain reactions.

Photocall has the four protagonists, including master Kiarostami; quite sad day in Cannes with a grey light that will mean photographers not easily will get good photos; but somehow light fits this group, with the exception of Rin Takanashi that shines with her splendid smile. Hmm, organizers should bring warm artificial light to the photocalls if weather continues the same.

TVFestival de Cannes interview starts asking Kiarostami "why Japan?" and his fast answer "why not?". There are minor spoilers that I don't mind as is fascinating to watch Japanese quite smart interventions, then Kiarostami films are also about the voyage more than about the destination. Oh! my expectations are rising as they talk about main character emotions, exactly what I expect from his films. Suggest to watch video in French to avoid a little, awful voice over translation.

Press conference starts again with the same question about the Japan setting... and translation problems as there will be many languages here, Farsi, Japanese, French and English. I don't really understand why so many wish to know why he filmed in Japan, for me is irrelevant, the stories in his mind can travel the world if he wishes to do so. His answer complements what I think. Gosh again Japan, why press has to be so literal? I don't recall so many country set question when he did Copie Conforme that was set in Italy. Kiarostami's answer seems to not please much him. Yes it's a "strange" press conference and the many languages plus tech difficulties doesn't help much to make it "normal". Shame. Grr, even I am getting upset with the silly questions. Terrible video, suggest to skip it if you wish not to get really upset by the terrible tech quality -I'm watching in French, maybe in English is less annoying. I'm trying to continue watching but requires a lot of my patience. Somehow I enjoy Kiarostami answers that I find full of irony. Hmm got to the quote moment, came from Kiarostami extensive answer to a dull question.

After watching "strange" press conference (around half gets better) can't help but to think that film could have some of what I saw here and I can call a "clash of different cultures" which if true, could make film more challenging than usual Kiarostami's films. This only excites more my imagination as not very often I'm able to watch good films that really challenge me. But also explains reactions that I've been seen in the net.

Finally one red carpet with NO rain! Yay! Can't believe it, video starts with the same Japan question! True Rin Takanashi is very beautiful as it is Ella singing the title song. Ah! we are half-way the festival, so fast time went by... Watch video that brought glamour back to the steps thanks to the absence of rain.

In the end my expectations are risen by what I saw and the wait to this Must Be Seen for me film will be unbearable. Sigh. We can't forget that Kiarostami already is a Palme d'Or winner, but with the diverse reactions I wonder if his film will be honored this year; still from a very human and subjective point-of-view I would simply LOVE if films gets top honors, just to "surprise" many.

Da-Reun Na-Ra-E-Suh (In Another Country) by Hong Sangsoo

The second film in competition with great Isabelle Huppert and film can't be more different than the one screened yesterday. If you wish to lean about my expectations please go here.

Maybe is just me but in photocall I see an Isabelle Huppert looking a lot more "tired" than her fresh yesterday's look; but also Cannes is overcast looking dull and grey. TVFestival de Cannes interview has interviewer asking questions that I already know the answers like for example how they met, why director chose Huppert, the three characters Huppert plays, etc. Yes I've read a lot about this movie as know story/film spoilers will NOT spoil this movie where I expect an intense Huppert performance in a very strange story. But I'm watching video because has Isabelle talking a lot more than in yesterday's interview. Watch only if you enjoy watching Isabelle Huppert.

Press conference start by saying that is Sangsoo seventh film in Cannes Official Selection and finally I'm able to confirm that the older lady is none other than impressive actress Yeo-Jung Yoon that also is in another film in competition, The Taste of Money as well as in outstanding The Housemaid. Questions remain similar to the interview, but now I learn that Sangsoo works with no screenplay, with lots of improvisation even when everything is clearly stated every morning when actors receive what they have to do/say that day and have to learn fast. Interesting and very explanatory of what I imagine we will see. No, don't understand Korean, so video has a lot of necessary translation. I'm guessing that the "old" style has to be when compare it with contemporary Korean cinema as clips don't suggest old style, perhaps more a French style. Interesting to find that Korean female journalist is impressed that foreigners also understand humor, humor that she thought only Koreans will understand. Fascinating Korean actors very polite comments about Huppert, in what I believe are an expression of oriental good manners they highly praise the French actress with great humor. All right, I find press conference the most interesting video from this film and suggest to watch but you will need to be patient with all the translations.

Red carpet is during the day and yes, still raining but we see Isabelle dressed for what I believe fits more the weather, a short dress. She positively talks again about director particular universe. Watch only to see Isabelle.

Isabelle Huppert will always be an actress with high possibilities to win Best Actress in Cannes but this year I have the impression that even if will be considered, she will not win the top award where Marion Cotillard is still the frontrunner and we still have to see reactions to Nicole Kidman performance in Daniels' film. Hong Sangsoo is loved in Cannes and maybe this film will give him honors as he already collected the top award at the Un Certain Regard in 2010, especially when film seems to have a "sophisticated" style that could appeal Westerners'.

Vous N'Avez Encore Rien Vu (You ain't seen nothing yet) by Alain Resnais

Ah! Resnais. What can I say about the 2009 Cannes lifetime achievement award winner for his work and exceptional contribution to the history of cinema, that Cannes or anywhere/anyone else haven't say already? Not much as everything has been said during the life and work of this ninety-years-old director. But IF you love French cinema as much as I do, then this is Must Be Seen for you.

Resnais next film after great Les Herbes Folles (Wild Grass) seems to be an extenuating exercise in acting, directing, acting/directing and being oneself as from the large ensemble cast is only Denis Podalydes who plays a fictional character in this very free adaptation of two plays by Jean Anouilh: Eurydice and Cher Antoine.

No, I don't expect a fluid, organic French film but a heavy performance-intensive movie that will explore film, theater, actors, life, death, and love beyond the grave... as the myth in Eurydice tells. The following is the synopsis.

From beyond the grave, celebrated playwright Antoine d’Anthac gathers together all his friends who have appeared over the years in his play "Eurydice". These actors watch a recording of the work performed by a young acting company, La Compagnie de la Colombe. Do love, life, death and love after death still have any place on a theater stage? It’s up to them to decide. And the surprises have only just begun...

Photocall is without doubt worth watching just to have a look at the large cast ensemble in this film, but Resnais entrance is also impressive for a man his age. Not in photocall Michel Piccoli and Mathieu Amalric. TVFestival de Cannes interview has six great actors that talk about their roles, tell spoilers that will only confuse you as film definitively seems that you'll "understand" only after watching.

Press conference has even more cast/crew -but no Amalric-. No surprise -for me- that film name was created in the editing room or that some actors had no idea what film was about and were looking forward to watch film to "discover" film. Video makes me think that only a great and respected director could do a film with such a large well-known ensemble cast and positively deal with actors' egos. Suggest to watch only if you are familiar with director/actors and wish to learn a lot about movie; then don't worry even if you'll learn a lot I know that whatever you leant will not spoil this movie that now more than before believe will be also a film of style, a particular style.

Quote from press conference. Alain Resnais, on the film's title:
"It just sort of crept in unnoticed to the editing room. It was a joke at first and became a sort of catchphrase between my editor, Hervé de Luze, and me. Then it was written on the cans, and the lab sent us the labels, and so it got adopted. But there was no firm intention behind it."

Can't deny that after watching press conference I became more curious about film that always was Must Be Seen for me even when I knew very little about it. Can't guess if film will be honored in Cannes but if collects honors I will not be surprised.

Red carpet video still shows Cannes in the rain but film cast attracts lots of photographers and fans. Oh! Amalric is here, glad to see him. There are so many actors that are not able to walk horizontally in a straight line. Now we see Bruno Podalydès who also directs some films scenes. Resnais waits at the top of the steps with Fremaux and Jacob. Finally all are atop the stairs and assure you that unless there is a wide lens photo, photographers will not be able to get one visible shot from this incredible ensemble of great French actors.

Twits suggest film approval in non-English language; which confirms me that film has to be mainly for European audiences and probably will have jury interest, but I don't know if will be honored with top awards.

Un Certain Regard

Elefante Blanco by Pablo Trapero

I watch everything that Trapero does, that his wife Martina Gusman does, and Ricardo Darin does; so, this film that reunites the trio again -plus add one interesting French actor, Jeremie Renier- is Must Be Seen for me just because cast/crew.

Not until today that will learn a bit more, not too much as I don't want to spoil the movie, so here is the synopsis.

The "Villa Virgin", a shantytown in the slums of Buenos Aires. Julian and Nicolas, two priests and long-standing friends, work tirelessly to help the local people. Julian uses his political connections to oversee the construction of a hospital. Nicolas joins him following the failure of a project he was leading in the jungle, after paramilitary forces assassinated members of the community. Deeply troubled, he finds a little comfort in Luciana, a young, attractive, atheist social worker. As Nicolas' faith weakens, tension and violence between the slum drug dealing cartels grow. And when work on the hospital is halted by ministerial decree, the fuse is lit...

I know that whatever is told in the synopsis will be the "obvious" story but film will go deeper into other not-so-obvious subjects. Clips show another outstanding performance by Darin and the not-often seen Buenos Aires slums.

Después de Lucía by Michel Franco

Franco made his full-length movie Daniel and Ana in 2009, which was screened at the Directors' Fortnight; but he was already known as a TV ads director and had several shorts that traveled well the fest circuit. His second film, Después de Lucía makes the Cannes Official selection and seems to be a film with a strong story that maybe will not be easy to watch more because of story itself and not from Franco's storytelling style.

Is not until today that I'm able to watch clip and read the following synopsis.

Alejandra and her dad Roberto have just moved to town. She is new at school, he has a new job. Starting over is sometimes complicated when you have left so much behind.

You have to consider that "town" is Mexico D.F. plus this is another family and violence story, then you'll agree that story has to be not-easy-to-watch; expect that director visual and storytelling style will make film easier-to-watch, as somehow happened in Daniel and Ana.

Djeca (Children of Sarajevo) by Aida Begic

Aida Begic first came to Cannes in 2001 with her graduation film which was selected for the Cinefondation; came back with his first full-length film, Snijeg (Snow), only to win the Critics' Week Grand Prix. Now comes back with a film in the Un Certain Regard with a story that will not be easy to watch but I do expect beautiful compositions, framing and cinematography. Expectations that come from her previous work as is not until today that I'm watching clips and reading the following synopsis.

Rahima (23) and Nedim (14) are orphans of the Bosnian war. They live in Sarajevo, a transitional society that has lost its moral compass, including in the way it treats children of the people who were killed fighting for the freedom of their city. After crime-prone adolescent years, Rahima has found comfort in Islam and she hopes her brother will follow in her footsteps. Their life of bare survival becomes even more difficult after Nedim gets into a fistfight with the son of a local strongman and breaks his expensive mobile phone. This incident triggers a chain of events leading Rahima to the discovery that her brother leads a double life.

Looking forward to watch Begic's film and many more that surely will come in what I envision as a very long successful career.

Midnight Screenings

Ai To Makoto (For Love's Sake) by Takashi Miike

A musical by Japanese eclectic director that has gained over the years passionate followers of his usually cult movies and I believe this one will be another Miike cult movie that will fascinate his followers but also those that are not that familiar with Miike that came last year to Cannes for the first time with Ichimei in competition, but perhaps his most-known film is 13 Assassins.

Believe it or not I have seen a few Miike recent and not so recent work, and even when I do not consider myself a passionate fan, can say that I liked his films sometimes more than what I imagined; but know that they are not for all west audiences.

Sure, will watch film when comes near me.

Cannes Classics

Today a film, Tess, that everyone relates to his director Roman Polanski. I don't. In my mind this is a Nastassja Kinski film as here we see one of her best performances. Anyway Polanski is in Cannes to present a restored copy that I don't need to desire watching as movie is in my collection in an format that is between the past and the present, the laser disc, but doesn't need restoration as works just fine. Read about movie here.

Today an intimate portrait of John Boorman by his daughter Katrine Boorman in her debut film (competes for Camera d'Or) Me and me Dad, a documentary that shows a rather complex relationship due to the choices that director made between his personal and professional life. Read more about film here.

Cannes Classics honors this year President of the Caméra d’or Jury, Carlos Diegues, by screening a restored print of his 1976 Xica da Silva. If you wish to read about film go here.

Andreï Konchalovsky returns to Cannes for the 7th time to present a new print of his 1985 Runaway Train, a film with a script written by none other than Akira Kurosawa and suggest you read film history plus watch trailer here.

Cinéma de la Plage

With all the rain I wonder if program was suspended or moved inside a movie theater; still in the program for today is Terrence Young's 1963 From Russia With Love with great Sean Connery and Daniela Bianchi as the "Bond girl". To read more about film go here.

Quinzaine

3 by Pablo Stoll Ward

Haven't seen many Uruguayan films, but the few I've seen have surprised me beyond my expectations and after watching trailer, clips and reading the following synopsis I believe that Stoll's film will surprise me too.

Ana, an enterprising teenager, is living through a decisive moment in her life. Her mother, Graciela, seems at a turning point as well. For Rodolfo, Ana's father and Graciela's ex-husband, domestic life in the home of his second wife, is empty and cold, as if it were no place for him. Discreetly he sets out to reclaim his place with them, after having been away for ten years. 3 is a comedy about three people doomed to the same absurd fate: being a family.

Here is a family story with a theme that hasn't been explored much in "serious" cinema and even if film seems or is a comedy, humor seems to go to the dark side, the only side of humor that I highly enjoy.

I'm curious and interested in this film from the same producers of good Gigante and Acne. Will watch as soon as comes near me.

Rengaine (Hold Back) by Rachid Djaïdani

Still no trailer or clips but synopsis made me very curious about Djaïdani's debut film that not only is competing for the Camera d'Or but also for the Queer Palm. From the few film still I have seen is impossible to guess director style but seems possible that visuals could be on the good side of the cinematography spectrum. This is the synopsis.

Paris, today. Dorcy, a young black Christian, wants to marry Sabrina, a young North African. It what would be a simple matter if it weren't for the fact that Sabrina has 40 brothers and that this easygoing wedding has crystallized a taboo still rooted in the mentalities of the two communities: no marriages between Blacks and Arabs. Slimane, the elder brother, and guardian of traditions, will oppose this union in every way possible.

Can't say that story is new as there are many films with similar stories, especially those that deal with people from different communities falling in love and trying to have a life against all odds; but somehow the Paris plus the Blacks-Arabs setting makes me think that story will have differences and be interesting. Yes will watch.

Room 237 by Rodney Ascher

Extremely interested in this documentary about the infamous room in Kubrick's movie; which title is only the excuse to pinpoint the exploration of numerous theories about the often hidden meanings in Kubrick's 1980 masterpiece of modern horror: The Shining. But if one film was and still is very info elusive is this one that I've been looking for reliable info with not much luck even when was in 2012 Sundance.

Don't know if photo will be on Ascher film but is the best pic that makes me recall the chills that room and Kubrick's movie gave me. It's okay, will be only after I watch film that could give a serious opinion about this documentary that absolutely is Must Be Seen for me.

Semaine de la Critique

Peddlers by Vasan Bala

Vasan Bala debut film does not feel or look like the kind of cinema I enjoy, but definitively does like the kind of cinema screened at this parallel section. Film is not only competing for the Camera d'Or but also for the Queer Palm. This is the synopsis

A ghost town, Mumbai, inhabited by millions. A lady on a mission, a man living a lie, an aimless drifter. They collide. Some collisions are of consequence, some not, either ways the city moves on

Have to accept that I'm a bit curious, but wonder if I dare to watch film.

J'enrage de son absence (Maddened by his Abscence) by Sandrine Bonaire

The special screening of an actress and director that I do enjoy in both roles with a film that stimulates my curiosity, not only because is a French film but also because the cast includes William Hurt in the main role. Story does not seem unique or special, so I imagine this is a film where style could be a surprise as definitively will have something unique as most films screened at la Semaine. This is synopsis.

After ten years, Jacques comes back to France to handle his father’s succession. He had left France to live in the USA to escape a painful past he shared with Mado, his former wife, who in the meantime, built a new life with Stéphane and their 7 year old son, Paul. Upon his return, Jacques and Mado meet again; he asks to meet her son Paul; Mado hesitates, then accepts but hides it from her husband. Soon, Paul and Jacques get close and they start to see each other secretly.

Yes will watch film as soon as comes near me.

Short Films Program 2

Today the second short film program that will screen the following shorts: Fleuve Rouge, Song Hong by Stéphanie Lansaque and François Leroy, Circle Line by Shin Suwon, Horizon by Paul Negoescu, Family Dinner by Stefan Constantinescu, and La Bifle by Jean-Baptiste Saurel.

L'ACID

Today Casa Nostra by Nathan Micholovitch that explores an often seen theme of what makes a family in what seems could have great black and white visuals and a poetic style. This is the synopsis.

Hélène, Mathilde and Ben Scappini are travelling to the parisian suburbs to see their diying father. On the road to the family house, the siblings are learning to rediscover each other.

In this world of full color cinema, black and white movies will always call my attention, especially when they look and feel like not mainstream cinema and Micholovitch film seems very far from mainstream. Yes very curious about this film that I know will not be easy to find near me.

Cannes News

Another day with so many news that is impossible for me to include them here. This is a selection.

Céline Sciamma wins the 5th Prix Jacques Prévert for the Tomboy's original screenplay and the adapted screenplay award goes to Sandrina Jardel and Johan Sfar for Le Chat du Rabbin.

Nanni Moretti gets l'insigne de Commandeur dans l'ordre des Arts et des Lettres from France Culture Minister, Amélie Filiippetti.



Paul Verhoeven has a new picture Tricked that I hope is a Dutch film, if so is I have to watch this movie kind of film.

Paul Thomas Anderson premiered a teaser trailer for his upcoming drama, The Master, starring Philip Seymour Hoffman and Joaquin Phoenix. Interesting clip, cast and director. Film opens October 12, 2012. Can't wait to see Phoenix back on the big screen. Watch clip at Movie On facebook page.

Oh! A Rainer Werner Fassbinder biopic project, that has to be some very wild film; is a Franco-German production directed by unknown by me Marco Kreuzpaintner. The film title: Rainer.

Stellar cast in Bille August English language existential thriller Night Train to Lisbon with Jeremy Irons, Vanessa Redgrave, Bruno Ganz, Lena Olin; finally what seems a glorious adult film to enjoy in the future.

Interesting Mira Nair's upcoming political thriller, The Reluctant Fundamentalist; but cast worries me a little... with Kate Hudson, Kiefer Sutherland...

Been reading about Quentin Tarrantino's latest film Django Unchained, still have no opinion about film starring Leonardo DiCarpio. Today twitter went crazy after the 7 minutes footage was screened... "ridiculously fun" ... "plenty of bood, plenty of laughs" Hmm, sounds like real Tarrantino flick.

Not-so-serious Comments

Screen magazine today ties Mungiu and Haneke films with 3.3 score, second place still Rust & Bone with 2.9; how close to the real jury perceptions, don't know but I don't mind the Palme going to any of those films.

Rain is killing some of the fest glamour I hope weather changes soon, but if I believe predictions seems that bad weather will stay longer than what we wish for. Sigh.

American media started to play with Oscar Buzz and only because I like what they're saying will share with you all. Yes they're speculating about the Oscar power of Michael Haneke's Amour and "saving" a spot for Marion Cotillard's performance in Rust & Bone, a film that many consider HAS to represent France in the Oscar foreign film category. Speculation continues especially for the foreign film category with Romania sending Mungiu's film and Denmark Vintenberg's films - but I say that both films have stories that elderly Academy members will not like at all.

Is Monday and there is no Aish in Cannes. Sigh.

Lots of parties, the best photo comes with great Rosy de Palma at 3.14 Club see photo at facebook Movie On page.

Arriving: Eric Dane, Matthew McConaughey. Leaving: Tom Hardy. Today there are great photos that you will never see here are they are not free... sigh.

Photo of the Day

Nice group photo.

Day 3 at Cannes 2011

As many of us know since yesterday Blogger has been not working right until they went into “read-only” mode meaning that we can see the blog but I can’t write in it. This morning post of Day 2 disappeared as well as all the clips I posted yesterday at the trailer site. So sorry but well if you’re reading this is because Blogger went back to normal.

Main Competition

The day started with an early morning screening of Habemus Papam by Nanni Moretti. This is a movie that I’m looking forward to watch as since his movie Il Caimano about Berlusconi, he has been sort of “lying low”; now he’s going after another institution and his portrait no matter if is bland/direct/whatever is one I can’t skip. Photocall, interview and press conference are somehow less entertaining; watch only if you would like to see Michel Piccoli, Nanni Moretti and/or Margherita Buy. Ditto for the red carpet but you will see how the French people love Piccoli and is well-deserved as he has had such a long/good career with so many outstanding films. Surely I’m biased, but somehow enjoy more to hear French and Italian than English (lol!). Come on, this is Cannes, not Hollywood! Only two women among many men in dark suits, yep they look like pinguins.

Most awaited by French press Polisse by Maïwenn, also would like to see this film as based on her previous films is hard to imagine why her film is nominated for a Palm d’Or. Still from headlines that started to appear yesterday, seems that film is totally different to what she used to do and that she did a “giant leap ahead” with this film. Film is competing for the Camera d’Or. As I also got the same impression from trailers/clips I’m sharing what some are saying after watching: “seems like a TV pilot”.

Polisse photocall has many members of the large movie cast, many known to me, but surprisingly there are not many photographers, I imagine that most –if not all- are photographers from French press. Finally for a second Maïwenn is alone but now is with only the men… yes, all are screaming: ici, Maïwenn! lol! In the interview there are 13 people, the same as in the photocall, that’s huge. The interview is perfect, no translator that interrupts flow if you watch it in French (lol!). The best is that only the women are interviewed, he, he.

Polisse press conference also has many people, more as the producers are there. Should comment that all of them are dressed in black except Maïwenn that’s wearing a nice blue dress, surely was done on purpose. I know this film has a not-easy-to-talk story, but I believe she handled herself well. Unfortunately press members have seen the movie and are doing specific questions so I’m going to stop watching. Ah! just in case you haven’t figure it out, the movie name is how a child may write police and yes is misspelled in French. Can’t wait for the red carpet but will be late tonight.

There is a photo that I have to find from the red carpet that I’m sure will be lovely. Not surprising but French media went crazy today with lots of Cannes coverage and calling Maïwenn, Queen Maïwenn. Tonight she’s wearing blue again and the mood is very informal before they start to walk the red carpet. Marina Fois looks great, elegant. Maïwenn moved to tears, that’s emotional and yes, unexpected but charming. Nice, very nice, so different to the other red carpets that have happened until now, very French. Voilà c’est tout pour aujoud’hui.

Out of Competition/Special Screenings

Late afternoon will be the screening of Labrador (Out of Bounds) by Frederikke Aspöck a drama that probably will eventually end-up watching as yes in general I like Danish cinema. First film so competes for the Camera d’Or.

Midnight Screenings

The first of the two films is screened today Wu Xia by Peter Ho-Sun Chan that finally yesterday was able to watch scenes and seems interesting; but after my not-so-positive experience with 13 Assassins I’m back to not watching martial arts movies until I find a reliable source that gives me an idea if I should watch or not a specific movie.

Un Certain Regard

Three movies today. The first is Toomelah by Ivan Sen that I’m sure will skip as is not my kind of movie unless I’m totally wrong; but after trying without success to watch the famous similar themed movie I’m staying away from similar movies.

The second is by Gerardo Naranjo, a director that mesmerizes me but his style scares me; still I have watched all his previous movies and Miss Bala won’t be an exception. This is a movie that you have to find the right time and mind set to watch, if you find it then the ride is exceptional for sure.

Third a movie that absolutely is Must Be Seen for me as I watch everything by Kim Ki-Duk and this crazy movie, Arirang, seems that’s going to be a special ride into the life of the director. The wait will be hard to endure.

Cannes Classics

Two movies that are worth watching. First a documentary by Catherine Cadou about none other than Akira Kurosawa, Kurosawa, la voie (Kurosawa’s Way) a tribute to the most famous Japanese master filmmaker with 11 interviews to filmmakers around the world, including Julie Taymor, Clint Eastwood, Martin Scorsese, John Woo and more.

The second I have seen it as film is by none other than Rainer Werner Fassbinder  1978 film Despair and if you haven’t seen it, what are you waiting for? Outstanding Dick Borgarde is here.

Cinéma de la Plage

Today another must be seen movie for those that haven’t seen it yet, 1981 Das Boot: Director’s Cut by Wolfgang Petersen. A veritable saga with 3 hours 36 minutes, most spent inside the claustrophobic space of a German submarine.

Quinzaine

Today three movies. In the morning The Other Side of Sleep (competing for the Camera d’Or) by Rebecca Daly with an interesting story and the indispensable slow-pace to tell it; definitively will watch.

Late morning Jeanne Captive by Philippe Ramos that I’m not sure can take another look at Jeanne d’Arc; still because the cast probably will watch. Then check this from twitter: “Commence comme un film historique pour se terminer en errance panthéiste” … ok, I’m interested. (got very long applause from the audience).

Early afternoon the movie I’m very curious about Eldfjall (Volcano) by Rúnar Rúnarsson which also competes for the Camera d’Or.

At the Quinzaine official site you can watch some new videos with the opening ceremony and the presentation of the Carrosse d’Or to Jafar Panahi with words by Agnes Varda. It’s not a glamorous ceremony but what is said should be listening by everyone in the world. Also there an inconsequential video of the party.

Semaine

Las Acacias by Pablo Giorgelli a film that not I’m not sure will like to watch is screened today.

Other Activities

Today was the Heroine photocall and Aish looks very good, let's see if I can find a good photo without her colleagues in it.

Today was announced that a movie that is absolutely must be seen for me has been purchased, ie has a distributor for USA market and film is none other than The Iron Lady with Meryl Streep. If you don’t know, film is the biopic of Margaret Thatcher and yes Meryl plays her.

Remember that I told you about the pinup exhibition? There is a virtual exhibition on line that if you wish can watch here.

News

As a headline says: “women grab Cannes spotlight with disturbing tales” hmm, what do they mean? Only men can do disturbing stories? Women invaded men territory? What? Okay if you read further: “Female directors, famously shut out of the Cannes film festival's main competition in 2010, dominated the opening of this year's event with dark tales of murder, prostitution, rape and suicide.” Ah! and if you read more, a female film professor from Columbia University says that “the increased number of female directors in Cannes reflects a growing trend” that started with “Kathryn Bigelow’s Oscar win and Lisa Cholodenko’s critical and commercial success" with the unnamable movie. Ugh! The worst, article is a Reuters dispatch so these terrible comments will be all over the world very soon.

The Not-So-Serious News

Last night was the Calvin Klein party and if you browse the net you will find many Hollywood actors that attended the party and that you wonder why are they in Cannes. One of them is Vanessa Hudgens. Also there Diane Kruger with her partner Joshua Jackson who “stole the limelight” (lol! – oh gosh what gossipy reporters write, so funny); the couple was also at the L’Oreal Live party and there is a very good photo of the two, indeed, is an excellent photo. Finally I learned what Diane is doing at Cannes, she's promoting her film "Forces Spéciales" with none other than Benoit Magimel.

Besides cinema related news, do you have an idea of what other news generate high amount of reports? If you said fashion you’re right. Yes my friends Cannes is also a fashion event like no other in the world; that’s why Chanel, Calvin Klein, Dior, etc. have parties and some, fashion shows! Not only is a fashion showcase but women attending the events are haute couture buyers and I’m not referring to actresses, but the other women that you probably don’t even know their names unless you read fashion or gossipy magazines dedicated to royalty and the rich. Business, business, Cannes is fun but everything is business oriented.

Extremely scandalous, read with caution… he, he, just kidding but this is a copy and paste from the UK Guardian: “If you think about it, it had to happen. Sex and 3D, I mean. The unambiguously titled 3D Sex and Zen: Extreme 3D Ecstasy, is touting for trade (if you'll excuse the expression) at Cannes, with all and sundry invited to a party promising "Actresses' Appearance!!!" [sic]”.

Gossip says that Carla Bruni didn’t do the red carpet because she’s pregnant, Marion Cotillard didn’t go because she’s pregnant; today I learn that Charlotte Gainsbourg is also pregnant, but she will walk Melancholia red carpet. Hmm there must be something in the water, so many pregnant actresses.

Photos of the Day

Still looking for photos but here are some.  The first is Cheryl Cole that I have NO idea who she is, but photo is spectacular, very similar to many taken years ago at Cannes.

 

Next is Maïwenn this morning at the photocall.

Aish at Heroine photocall

2014 Cannes Predictions

For entertainment purposes lets review what predictions say, but have to remind you that winners will come from an eclectic filmmakers/actors jury and not from film critics. Nevertheless I gather that the consensus is that this year the Palme d'Or winner is NOT clear, unlike -for example- what happened in 2012 with Amour and in 2013 with La Vie d'Adèle.

According to those that play the guessing game, in 2014 there are five films running towards a "photo finish": a Canadian prodigy, a Russian corruption critic, Belgian brothers, a Turkish husband-and-wife team and a British veteran tipped for glory. If the Palme d'Or goes to any of these films, then most bet the other films will get the other top awards.

Continue reading »

37th Annual Los Angeles Film Critics Association Awards

A few hours ago the perhaps most powerful group of critics voted and here are some of the winners.

Best Picture: The Descendants
Runner-Up: The Tree of Life

Best Director: Terrence Malick for The Tree of Life
Runner-Up: Martin Scorsese for Hugo

Best Actress: Yun Jung-hee in Poetry
Runner-Up: Kirsten Dunst in Melancholia

Best Supporting Actress: Jessica Chastain in Coriolanus, The Debt, The Help, Take Shelter, Texas Killing Fields, and The Tree of Life
Runner-Up: Janet McTeer in Albert Nobbs

Best Actor: Michael Fassbender in A Dangerous Method, Jane Eyre, Shame, and X-Men: First Class
Runner-Up: Michael Shannon in Take Shelter


Best Supporting Actor: Christopher Plummer in Beginners
Runner-Up: Patto Oswalt in Young Adult

Best Screenplay: Asghar Farhadi for A Separation
Best Cinematography: Emmanuel Lubezki for The Tree of Life
Best Production Design: Dante Farretti for Hugo

Best Foreign-Language Film: Nanjin! Nanjin! (City of Life and Death), Chuan Lu
Best Documentary/Non –Fiction Film: Cave of Forgotten Dreams, Werner Herzog
Best Animation: Rango

To check winners and runner-ups in all categories go here.  Some selection really puzzle me as find them rather odd, for example last year Best Actress went to a Korean actress and this year again; Best foreign-language film to magnificent –yet very hard-to-watch- Najing! Nanjing! a 2009 production and not to A Separation; but seems that with the few announcements up-to-date one category seems will have a lock: Best Supporting Actress. Most glad that Fassbinder is collecting honors and hope he will get an Oscar nod.

Seems this year critics will not agree as they did last year when The Social Network became the predictable Oscar nominee; this year could be a little bit more interesting. Let’s hope.

64th Festival de Cannes – Cannes Classics Lineup

A few days ago the fest unveiled the films in the Cannes Classics section that showcases heritage cinema, allows re-discovering films and screens restored prints. This year the section has fourteen (14) films, five documentaries, a Masterclass by Malcom McDowell, and some other surprises.

These are the films.

Feature Films
Clockwork Orange, Stanley Kubrick, USA, 1971
La Macchina Ammazzacattivi (The Machine to Kill Bad People), Roberto Rossellini, Italy, 1952
A Bronx Tale, Robert De Niro, USA, 1993
Il Conformista (The Conformist), Bernardo Bertolucci, Italy, 1970
Rue Cases-Négres (Sugar Cane Alley), Euzhan Palcy, France, 1983
Puzzle of a Downfall Child, Jerry Schatzberg, USA, 1970
Hudutlarin Kanunu (The Law of the Border), Lufti O. Akad, Turkey, 1966
Niemandsland (No Man’s Land), Victor Trivas, Germany, 1931
Les Enfants du Paradis (The Children of Paradise), Marcel Carné, France, 1945
Despair, Rainier Werner Fassbinder, Germany, 1978
Le Sauvage (The Savage), Jean-Paul Rappeneau, France, 1975
Chronique d’un été (Chronicle of a Summer), Jean Rouch and Edgar Morin, France, 1960
L’Assassino (The Assassin), Elio Petri, Italy, 1961

Short Films
Le Voyage dans la lune (A Trip to the Moon), Georges Méliès, France, 1902, 16’

Documentaries
The Look, Angelica Maccarone, Germany and France, 2011
(*) Corman’s World: Exploits Of A Hollywood Rebel, Alex Stapleton, USA, 2011
Belmondo … Itineraire, Vincent Perrot and Jeff Domenech, France, 2011
Kurosawa, la Voie (Kurosawa’s Way), Catherine Cadou, France, 2011
Il était une fois… Orange mécanique (Once Upon a Time … A Clockwork Orange), Antoine de Gaudemar and Michel Ciment, France, 2011

(*) First Film, competes for Camera d’Or

Have to admit that this year there are quite a few films in this selection that I haven’t seen with some that call my attention. Of course have seen Kubrick’s Clockwork Orange that fascinated and yes, scared me when I saw it a very long time ago, which reminds me to share that this year there are some Stanley Kubrick activities in France and if you haven’t check the amazing exposition and retrospective at la Cinémathèque Française, I strongly suggest you do at their official site that has many opportunities to explore the exhibitions and different activities; the only thing I’m missing is actually go to Paris and visit la Cinémathèque! Sigh. By the way, Cannes Classics will screen a restored print that celebrates the 40th anniversary of the film.

As find very interesting the info about Georges Méliès’ most famous film I reproduce what the press release says:
Found: A Trip to the Moon (Le Voyage dans la lune)
The color version of Georges Méliès’ most famous film, A Trip to the Moon (1902) is visible again 109 years after its release: having been long considered lost, this version was found in 1993 in Barcelona. In 2010, a full restoration is initiated by Lobster Films, Gan Foundation for Cinema and Technicolor Foundation for Heritage Cinema. The digital tools of today allows them to re-assemble the fragments of 13 375 images from the film and restore them one by one. The premiere of the film will take place in May 2011 with an original soundtrack by AIR.

The 2011 documentaries are all about films and as the press release says: “Films about movies are also films. Like a novelist writing a literary essay on the work of another writer, a filmmaker can tell in pictures the history of cinema. Each year, Cannes Classics focuses on these documentary films, which are also films.” So these documentaries trace Kurosawa’s life and work, Charlotte Rampling career, Roger Corman bio, Kubrick’s Clockwork Orange film, and Jean-Paul Belmondo.

Also there is an addition to the Cannes Classics selection that was announced minutes ago and will be screened as part of the event Egypt, guest country.

Al Bostagui (Facteur), Hussein Kamal, Egypt, 1968

To check the official press release go here and here for today's announcement.

Maybe is because haven’t seen many films or maybe because organizers changed the section structure, but I find that this year the section is more interesting than in previous years. Nevertheless now comes the hard task of waiting until I’m able to watch some of the selection films.

Cheers!

First Your Film Festival Award Winner

Today the winner was announced and is the entry from Spain. Michael Fassbinder gave the award.

La Culpa (The Guilt), David Victori Blaya, Spain

We know that eventually his new film will be at the festival YouTube channel for us to enjoy.

Congratulations to organizers for a great initiative.

Cheers!

The award winner short.



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8/7
A few days ago (August 1st) YouTube and Emirates in partnership with Scott Free Productions and the Venice Film Festival announced the ten (10) finalists that will attend the Biennale to compete for a US$500,000 prize towards producing more content with the help from Riddley Scott, Michael Fassbender and a world class crew.

Ridley Scott and Michael Fassbender are part of the jury that will select the grand prizewinner after the films are screened at the fest on September 2.

The ten finalists are market in *BLUE. To watch the finalists go here.

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6/12
If you like to watch short films this is your opportunity to see 50 semi-finalists in this festival where you can vote for your favorite. I just started watching and because the quality of the films decided to invite you all to this festival.

This is a copy of today's press release.

On June 11, YouTube and Emirates, in partnership with La Biennale di Venezia (the Venice Film Festival) and Scott Free, announced the 50 semi-finalists in the Your Film Festival competition - a global search to find the world's best storytellers. Scott Free had the difficult task of narrowing down more than 15,000 submissions from more than 160 countries across the globe. It is now up to the YouTube community to view and vote on the semi-finalists at youtube.com/yourfilmfestival thus helping decide which 10 filmmakers will attend the Venice Film Festival and compete for the $500,000 grand-prize.

These are the 50 semi-finalist short films.

*88:88, Joey Ciccoline, USA
Aisha's Song, Orlando von Einsiedel, UK
*Bat Eyes, Damien Power, Australia
Befetach Beity (On My Doorstep), Anat Costi, Israel
Bench Seat, Anna Mastro, USA
Biondina, Laura Bispuri, Italy
Boot, Damien Power, Australia
Café Turco (Turkish Coffee), Thiago Luciano, Brazil
Camino Al Cementerio, Mijael Milies and Carla Pastén, Chile
La Carta, Angel Manuel Soto Vazquez, Puerto Rico
*Cine Rincao, Fernando Grostein Andrade& Fernanda Fernandes, Brazil
Cortometraje Teta y Sopa, Alberto Gómez, Spain
*La Culpa (The Guilt), David Victori Blaya, Spain
Das Tub, James Cunningham, New Zealand
The Debt Collector, Alan David Morgan, USA
Dr Grordbort presents: the Deadliest Game, James Cunningham, New Zealand
*The Drought, Kevin Slack, USA
Ebony Society, Tammy Davis, New Zealand
La Guagua (The Child), Sebastian Mantilla, Spain
*El General, Diego Pino Zamora, Bolivia
Fish, Shaun Escayg, USA
Good Pretender, Maziar Lahooti, Australia
I'll Keep an Eye on You, Torben Bech, Denmark
Kiss, Alex Murawski, USA
Learning Spanish the Hard Way, Eric Stolze, USA
Letting Go, Daniel McCauley, South Africa
No Exit, Jesper Isaksen, Denmark
*North Atlantic, Bernardo Nascimento, UK
Перешкода (The Obstacle), Maxim Neafit Bujnicki, Ukraine
Photo For Baba, Harel Yana and Moti Malka, Israel
Picnic, Gerardo Herrero, Spain
El Porvenir- Episodio 1 Hermanos, Manuel Alejandro Anell, Mexico
Reflexiones de un Picaporte (Doorhandle Thoughts), Carlos Crespo Arnold, Spain
The Return Address, Abi Varghese, USA
*Scruples, Adrian Powers, Australia
Secular Quater #3, David Gidali, USA
Skatesistan: To live and skate in Kabul, Orlando von Einsiedel, UK
Skin of Glass, Lukas Dhont, Belgium
Sold, John Irwin, USA
Включи мотор и сдай назад (Start the Engine and reverse), Andrey Zagidullin, Russia
Stop. Watch. Love, Brad Herbert, USA
*Super.Full., Niam Itani, Lebanon
The Telegram Man, James Francis Khehtie, Australia
Tempestade (Storm), Cesar Cabral, Brazil
Ter Ter, David Lucchini & Fabien Carrabin, France
Then and Now, Paul Johannessen, Japan
هذا الزمان *(This Time), Ramy EL-Gabry, Egypt
Vi Ska Plocka Pascal I Natt (Our Mission: Pascal), Johanna Pyykkö, Sweden
Wickate, Niralji Ravishanker, Malaysia
Wylacznosc (An Exclusive), Krzysztof Szot, Poland

There are some directors that have excellent credentials like for example, short being at Cannes 2012 or being Bigas Luna assistant, which I share just to confirm the quality of the shorts. Among the jurors that helped to select the semi-finalist we have Ridley Scott and none other than Michael Fassbender.

To watch shorts please go here and VOTE - you have until July 13th- after all is OUR festival. According to rules, you can vote for 1 short each day, so if you have several favorites, you can vote for them but remember that is only one vote per voting day. Cheers!

Enjoy!!!