By MCN Editor editor@moviecitynews.com

Cannes 2012 Line-Up Announced

(Cannes website here.)

Competition

Opening Film

Moonrise Kingdom, Wes Anderson

After The Battle (Baad el mawkeaa), Yousry Nasrallah

Amour, Michael Haneke

The Angels’ Share, Ken Loach

Beyond the Hills, Cristian Mungiu

Cosmopolis, David Cronenberg

Holy Motors, Leos Carax

The Hunt, Thomas Vinterberg

In Another Country, Hong Sang-soo

In the Fog, Sergei Loznitsa

Killing Them Softly, Andrew Dominik

Lawless, John Hillcoat

Like Someone in Love, Abbas Kiarostami

Mud, Jeff Nichols

On the Road, Walter Salles

The Paperboy, Lee Daniels

Paradies: Liebe, Ulrich Seidl

Post tenebras lux, Carlos Reygadas

Reality, Matteo Garrone

Rust and Bone, Jacques Audiard

Taste of Money, Im Sang-soo

You Haven’t Seen Anything Yet (Vous n’avez encore rien vu), Alain Resnais

Closing Film

Therese Desqueyroux, Claude Miller

Un certain regard

Antiviral, Brandon Cronenberg

Beasts of the Southern Wild, Benh Zeitlin

Confession of a Child of the Century, Sylvie Verheyde

Despues de Lucia, Michel Franco

11.25 The Day He Chose His Own Fate, Koji Wakamatsu

Le grand soir, Benoit Delepine, Gustave Kervern

Laurence Anyways, Xavier Dolan

Les Chevaux de Dieu, Nabil Ayouch

Loving Without Reason, Joachim Lafosse

Miss Lovely, Ashim Ahluwalia

Mystery, Lou Ye

La Pirogue, Moussa Toure

La Playa, Juan Andres Arango

7 Days in Havana, Laurent Cantet, Benicio del Toro, Julio Medem, Gaspar Noé, Elia Suleiman, Juan Carlos Tabio, Pablo Trapero

Student, Darezhan Omirbayev

Trois mondes, Catherine Corsini

White Elephant (Elefante Blanco), Pablo Trapero

Out-of-Competition

Hemingway & Gellhorn, Philip Kaufman

Madagascar 3: Europe’s Most Wanted, Eric Darnell, Tom McGrath, Conrad Vernon

Me and You, Bernardo Bertolucci

Midnight

Dario Argento’s Dracula, Dario Argento

The Legend of Love & Sincerity, Takashi Miike

Special Screenings

The Central Park Five, Ken Burns, Sarah Burns, David McMahon

Journal de France, Claudine Nougaret, Raymond Depardon

Les Invisibles, Sebastien Lifshitz

Mekong Hotel, Apichatpong Weerasethakul

Der Mull im Garten Eden, Fatih Akin

A musica segundo Tom Jobim, Nelson Pereira Dos Santos

Roman Polanski: A Film Memoir, Laurent Bouzereau

Villegas, Gonzalo Tobal

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One Response to “Cannes 2012 Line-Up Announced”

  1. movieman says:

    No PT Anderson and Malick isn’t surprising.
    The absence of Woody is, however.
    Very disappointed that the new Assayas and Wong Kar Wai films won’t be ready in time for Cannes.
    Maybe later in the 2012 festival season?

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon