The songs, the laughs, the emotions, the cat—it’s easy to summarize the newest film from Joel and Ethan Coen, Inside Llewyn Davis, but the picture’s many layers cement it as something so much more. The take-home message: this is a superb film; easily the finest to debut at Cannes thus far. Going further down the line, it’s also a Coen brothers best, sure to upend fans’ established list of favorites.

Based loosely on the Dave Van Ronk memoir “The Mayor of MacDougal Street,” the story dramatizes the New York City folk scene in winter 1961, following the off-kilter Odyssey of singer Llewyn Davis (Oscar Isaac). The frosted, muted backdrops are captured by cinematographer Bruno Delbonnel (“Amélie,” “Dark Shadows”), who steeps the film in faded bloom. It’s a gorgeous, misty visualization sure to instill nostalgia for those too young to have haunted locales like the Caffe Reggio or the Gaslight Café. As for Oscar Isaac’s performance, it’s hard not to simply babble superlatives.

Similar to Van Ronk, Llewyn Davis is the also-ran of folk music: he’s the bridesmaid, never the bride; the talented-but-unsuccessful minstrel just trying to catch a break. In his world is Jean (Carey Mulligan, a brief, wonderful role that reveals a comedic prowess), his now-bitter romantic interlude from the past, while Justin Timberlake plays Jim, Jean’s husband and singing partner. Just two of the many supporting roles to later dissect, Jim and Jean play a larger role in Llewyn’s trajectory: Jean is pregnant (and we’re not sure who’s the father), while Jim invites Llewyn to sing on a new track, the immensely enjoyable “Please Mr. Kennedy” (but as he opts for cash-in-hand, Llewyn won’t be getting royalties if it’s a novelty hit).

Rather than dwell on these wrinkles—these caveated boons—the Coens only touch upon them; including them to draw a larger picture of Llewyn Davis without forcing sympathy from the audience. As it stands, it’s abundantly clear Llewyn is unable to play the long game in any capacity, living always in the here-and-now. His plight is one that we care about, but the Coens’ grounded treatment of things reminds us that Davis is partly the author of his own misfortune. As Jean says to Llewyn, “Everything you touch turns to shit. You’re like King Midas’ idiot brother.”

Living paycheck to paycheck and couch-surfing every night, Davis wakes up one morning with his host’s ginger cat in his face, a playful little guy who follows him out the (now-locked) door. Despite some of his shaggier exploits, deep down Llewyn is a decent guy and certainly not one to abandon a cat outside of its apartment. He takes the cat with him, unable to immediately get him back to its owners. Named “Ulysses,” the cat leads our drifting singer through snowy New York, later tagging along for an impromptu jaunt to Chicago.

If the success of YouTube is any proof, cats are a winning addition to most anything—but Ulysses is a special animal, his name a nod to both Homer and O Brother, Where Art Thou?  He’s the perfect catalyst (sorry) for a movie like Inside Llewyn Davis to begin, as the animal shares a lot in common with our protagonist, hardly anything tethering them to a single spot in the world. To be sure, Ulysses steals the show—but he also remains one of the only sincere connections Llewyn has. When their paths eventually diverge, the Coens leave us with a tender moment of subtle genius.

The film’s road trip between New York and Chicago is an engaging and out-of-the-way loop, but it resembles the way Llewyn traverses life through cycles. The trip is focused on Llewyn playing for music producer Bud Grossman (F. Murray Abraham), who may be the figurative golden ticket for him to escape the spiral of casual gigging. Sadly, Grossman’s not buying: “I don’t see a lot of money in this,” he says after Llewyn delivers one of his finest folk tunes.

That’s a line sure to leap to the top of all-time Coen quips, but Grossman’s conclusion ties into the film’s historical relevance, because we know Bob Dylan blew the doors open for folk music. The Coens make sure to capitalize: the stunning final scene exists as their interpretation on that fabled winter’s night, when a reporter from The New York Times went to a show at the Gaslight Café. Who will be mentioned in the eventual write-up? Given the reality of who emerged from the folk scene still intact, it’s a scene destined to be played back over and over again by those who wish to crawl inside the screen and never leave its fleeting glory.

Finally, the songs: a film about music better make sure the aural experience works, but worry not: peppered throughout this journey are folk classics arranged by musician-producer T-Bone Burnett, winner of the 2010 Best Original Song Oscar for Crazy Heart’s “The Weary Kind.” Inside Llewyn Davis’ finest quality is the authenticity of the music; it flows from the mouth and fingers of Oscar Isaac without any noticeable enhancement or movie magic, his fellow cast-members (Justin Timberlake, Adam Driver, Carey Mulligan) playing beside him with equally harmonious skill.

On paper, it seemed like Jimmy P. (Psychotherapy of a Plains Indian) was one of the films to beat at Cannes this year. With the equally laudable Benicio del Toro and Mathieu Amalric carrying the lead performances, Howard Shore scoring, and a story based on true events, the awards math was practically off the charts. And yet—despite these assurances—Arnaud Desplechin’s latest film is an uneven mess; a talky dud and an irrelevant adaptation that is drier than the musty library book it’s based on.

Adapted from the Georges Devereux non-fiction text “Psychothérapie d’un Indien des Plaines: Réalité et rêve,” the film depicts a Blackfoot veteran’s return from World War II and his resulting struggle with mental illness, a plot which sounded, sight unseen, a little bit like Paul Thomas Anderson’s The Master. Good doctor Devereux (Amalric), a specialist in both psychotherapy and Mojave anthropology, is brought in from New York via train to counsel Jimmy Picard (del Toro), a broken, but honest man with good intentions. It’s a biopic drama by nature, split roughly 40-60 by Devereux and the title character, respectively.

Knowing the title, it’s safe to conclude that a), Jimmy P. is “about” one too many people; and b), the film shouldn’t be nearly two hours long. Desplechin wants us to care about Picard’s general well-being and mental health, but nevertheless found it necessary to include the dullest of banal subplots that have nothing to do with the title character’s arc, coming off as excess and general shoe leather. Indeed, the problem of disposable footage exists both on the micro and the macro: certain characters could be excised entirely; the same is true for scenes that drag on for no benefit to the story (a guard stopping to check Devereux’s train ticket stands out as but a single example of the micro).

As the film’s superfluousness goes, Gina McKee’s Madeleine, Devereux’s mistress, does little but smile and waste time on screen, adding padding to a narrative that already has the stakes equivalent to a lemonade stand on the brink of bankruptcy. If the modus operandi of most Oscar films is try and stay important or relevant to contemporary issues—and make no mistake, the trophy baiting here is at its try-hard worst—then Jimmy P. will likely prove to be the most “useless” film this awards season; in a boring irony, the film both says far too much and far too little. The droning, uninspired dialogue provides little payoff, while the film’s treatment of its themes is too dry and lacking to really zing.

In terms of the actual psychotherapy and its depiction, Desplechin punctuates the standard shot-reverse-shot between intense close-ups and quick zooms. Initially jarring, these moments underline the scrutiny of the analysis and resurrect the dying drama. Also accomplished are the brief dream sequences, which are visually striking and interesting respites from  the more flat-lining conversations.

The film could have been improved with another pass on the script, which is riddled with supporting lines that sound plastic and chunky. Further tipping the boat is Desplechin’s fraudulent exposition, cheating us with characters who tell us the story to our faces—and barely to the other characters—without any attempt to keep things natural. Thankfully, this is less of an issue once we find ourselves in the psychotherapy scenes: when the film embraces its two-handed conceit and lets Amalric and del Toro do their jobs, the film comes back to life. And while del Toro’s performance and Blackfoot accent are admittedly very impressive, it’s disappointing they aren’t an even bigger focus. The opposite is true for Mathieu Amalric: despite the best attempts at his character, Desplechin has spent far too much screen time for anything outside of specifically Jimmy Picard to matter.

François Ozon’s second film to debut in Competition, Jeune et Jolie, sees the prolific auteur once again tackle themes of sexual promiscuity in a film that could be held as a spiritual sequel to 2003’s Swimming Pool. Both depict female protagonists coming to terms with sex in a different light than expected, with the result reshaping their personality and sensibilities. But Jeune et Jolie is more straight-forward than Swimming Pool’s infamous ambiguity, balancing neatly between sensitive drama and playful humor. The film wouldn’t work without the wonderful lead performance by model-actress Marina Vacth, her subtle intricacy and beguiling expressions moving beyond the archetypical “prostitute narrative.”

Broken into four seasons, the film opens in the summer and ends in the spring, casting allusions to the “deflowering” and eventual regrowth of a 17-year-old girl. In the summer, Isabelle (Vacth) is the embodiment of both the season and the film’s title; her youth and beauty joining the carefree, halcyon days of warmth, sunshine, and flings with handsome suitors. To that end, we see Isabelle lose her virginity on a beach—a scene where Ozon literalizes the out-of-body and has Isabelle watch herself “mature”—but the act is one-sided and passionless, and Isabelle walks away from the experience with separation and relative apathy. When she returns from her vacation villa to Paris for school in September, Isabelle has since become a prostitute; seeing clients, maintaining an online profile, and socking the money away for no explicit venture.

It’s okay that we don’t know why Isabelle doesn’t spend the money she makes. The spin here is that Isabelle’s prostitution is not borne from an urgent financial situation or other external forces, which lets Ozon direct Vacth around unusual circumstance with complex emotions. Finding a regular client she appreciates (instead of removed indifference), it seems Isabelle is enjoying the work the more she pursues it; indeed, when her secret is finally revealed to her family and to the police, Isabelle reminisces fondly with the therapist who sees her. One of the film’s most poignant jokes occurs here, too: when told how much Isabelle has to pay for her one-on-one sessions, she quips: “that’s it?” We’re reminded that a professional doctor charges a fraction of what Isabelle does, Ozon leaving us with a brilliant touch of social commentary. It’s just one of the many examples that keep Jeune et Jolie above other films with similar topics (the lagging 2011 Elles comes to mind; as does Sleeping Beauty).

Vacth’s breakout performance demands we see more of her, and Isabelle’s unstoppable flirtation with danger is the source of continued inspiration for France’s former enfant terrible. And when the film’s final chapter unspools—this time, it’s the spring—with a uniquely inspired cameo that once again echoes Ozon’s larger filmography, we know that Jeune et Jolie has managed its lofty goal of keeping things fresh despite the not uncommon themes and topics.

Better known as a protégé of Carlos Reygadas, Amat Escalante (Los Bastardos)’s Heli runs a gamut of topics sure to make an audience gasp: from sexual travesties to animal cruelty to unflinching torture, the content here makes for a tough sit. But it’s also an important film, as Escalante turns the camera on his hometown of Guadajuato to grapple with some  of Mexico’s biggest problems: cartel and drug-related violence.

The Spanish-born director wastes no time in setting the tone for Heli’s horrors, which are graphically depicted. With a car-mounted camera, the film’s exquisite opening tracking shot foreshadows events to come when a truck full of thugs hang a corpse from a neighborhood bridge, a shocking image of gore and fear. Unfortunately, we know the tableau is drawn directly from reality, as any related Google searches will provide photographic evidence of Mexican criminals’ rampant barbarities. Nevertheless, other tracking shots throughout the film continue to impress, and Escalante’s throwback to The Searchers’ bookend scenes is a welcome one.

Before the violence realizes its fullest gut-wrenching potential, we’re introduced to a small working-class family and the eponymous Heli, who lives in the same casa with his father, his wife, his baby, and his younger sister Estela (each played by local actors; Armando Espitia’s turn as the title character an especially strong one). Heli and his father work diligently at a local factory—underlined, to be sure, as honorable work in a land of corruption—while his wife stays home to take care of their infant. Things are generally más o menos around the house until Beto, Estela’s cadet boyfriend, finds a cache of cocaine in an underground deposit. Heli intercepts and destroys the packages, but once the damage is traced back to him, cartel crooks storm his house and attack his family.

A difficult narrative, but given the reality of it all, the result comes across as nonfiction and the antithesis of contrived. The production values are also surprisingly high for this low-budget drama, with Escalante achieving absolute fidelity where Heli needs it most: the lighting is natural and faithful (the roads are unlit and the nights are pitch-black, reminiscent of Nuri Bilge Ceylan’s 2011 Once Upon a Time in Anatolia) and the violence is stark and terrifying. Hammering home the latter point is one of the most brutal torture scenes in recent memory, which manages to convey the unshakeable feeling of true helplessness. To that end, it should be clear: if you thought Zero Dark Thirty was painful to watch, Escalante has four words for you: “crotch” and “fire” and “unflinching camera.” Taken together, the result is a rattling experience–but a fine film in its own regard.

Snapshots of the filmmakers in Competition for the Palme d’Or at the 66th Festival de Cannes in chronological order, in handy downloadable PDF form for devices including (but not limited to!) iPads and other tablets.

MCN Countdown to Cannes 2013

ROMAN POLANSKI

Background: Polish-French; born Paris, France, 1933.

Known for / style: Rosemary’s Baby (1968), Chinatown (1974), The Pianist (2002), The Ghost Writer (2010); directing both for film and stage; adapting plays for the screen; acting in addition to directing; experimenting with informal trilogies (notably the “apartment trilogy”); films with ambiguous endings; depicting the human psyche as both complex and unstable; themes of violence and paranoia.

Notable accolades: In his many decades as a filmmaker, Polanski has earned some of the top prizes in the industry. High on the list is his Academy Award for Best Director (The Pianist, nominated for Best Picture as well in 2003), his Palme d’Or (The Pianist, 2002), his three BAFTA Awards (The Pianist taking Best Film and the David Lean Award for Direction; Chinatown for Best Direction), his Berlin Bears (Gold for 1966’s Cul-de-sac, Silver for 1965’s Repulsion and 2010’s The Ghost Writer), and his Venice Little Golden Lion (Carnage, 2011). In 1993, Venice gave Polanski a Career Golden Lion, while in 2004, Karlovy Vary gave him a Special Prize for Outstanding Contribution to World Cinema.

Previous Cannes appearances: Coming to Cannes since the early 1970s, Polanski has debuted two films in Competition: The Tenant (1976) and The Pianist (2002), the latter winning the Palme d’Or. Outside the Palme race, however, Polanski has done it all: 1972’s Macbeth and 1986’s Pirates played out of Competition, and in 1994, Polanski acted in Giuseppe Tornatore Competition film A Pure Formality. Furthermore, in 2007, Polanski participated in anthology film To Each His Own Cinema, which was programmed out of Competition, while in 2012, Polanski’s Tess (1979) played in the Cannes Classics sidebar. Also last year was Laurent Bouzereau’s Roman Polanski: A Film Memoir, a Special Screening selection. Finally, Polanski has been on the Competition jury twice: once in 1968 as a general member, and once in 1991 as the President.

Film he’s bringing to Cannes: La Vénus à la fourrure (Venus in Fur), an adaptation of the David Ives play of the same name (which was inspired by Leopold von Sacher-Masoch’s 1870 novella Venus in Furs). The French-language drama follows stage director Thomas (Mathieu Amalric, also in Arnaud Desplechin’s Competition title Jimmy P.) who is desperate to cast a lead actress in his newest play, entirely dissatisfied with the day’s tryouts. But Thomas allows one more audition: the enigmatic and erotic Vanda (Emmanuelle Seigner, The Diving Bell and the Butterfly) who nails the part and beguiles Thomas with sexual attraction. The audition gains steam, and Thomas becomes obsessed…

Could it win the Palme? Welcome to the trickiest film of the festival. First things first: with the excellent Carnage behind him, Polanski’s latest stage adaptation should be something worth writing about. But in terms of the Palme d’Or and its awards potential, the situation gets hazier: following his September 2009 arrest in Zurich, Polanski has been the subject of renewed scrutiny of his 1977 crime. The topic has been covered in not one, but two recent documentaries by Marina Zenovich (Roman Polanski: Wanted and Desired and Roman Polanski: Odd Man Out), and since 1978, Polanski has been unable to enter the United States or any countries that may extradite him to Los Angeles (he fled the States hours before his sentencing). Here’s where things get weird, though: we already know Polanski won the Palme d’Or for The Pianist, but then again, 2002 was the year David Lynch was the President of the jury—and in 2009, Lynch signed a “Free Polanski” petition alongside other prominent Hollywood types, including Woody Allen and Martin Scorsese. In other words, Lynch had no qualms giving him the prize; indeed, he is a vocal champion of Polanski. However, conspicuously missing from the 2009 petition was Steven Spielberg, a man who once offered Polanski the directing gig for Schindler’s List. So the question remains: when it comes time to name a Palme winner, is Polanski’s name too muddied for Spielberg to associate himself with? And how will the rest of his jury feel, with none having signed the Free Polanski petition? Let us not forget, too, that Polanski’s curmudgeonly behaviour at a Cannes 2007 press conference alongside dozens of his fellow directors—leaving pre-emptively on account of boredom—has not done him any favors.

Why you should care: While the optics aren’t good for a Venus in Fur Palme win, Polanski is still a renowned filmmaker. On a strictly artistic basis—if you remove the film from the filmmaker—a quality film remains a quality film.

JAMES GRAY

Background: American; born New York City 1969.

James Gray / Photo Ray Pride.

Known for / style: Little Odessa (1994), The Yards (2000), We Own the Night (2007), Two Lovers (2008); taking hiatuses between films; adhering to “middle-budget” filmmaking (as opposed to low-budget experiments and high-budget extravaganzas); keeping “story-telling” his number one priority; themes of solitude, violence, and opposition; working with Joaquin Phoenix.

Notable accolades: Gray’s only major award is a Venice Silver Lion, given for Little Odessa in 1994. At the Independent Spirit Awards, Gray has been nominated three times: twice for Little Odessa (Best First Feature, Best First Screenplay) and once for Two Lovers (Best Director). Gray has also been nominated for two Best Foreign Film Césars (Two Lovers and We Own the Night).

Previous Cannes appearances: Following his award-winning Venice debut with Little Odessa, Cannes jumped at the chance to program Gray in Competition, having done so a total of three times: once in 2000 (The Yards), once in 2007 (We Own the Night), and once in 2008 (Two Lovers). Gray is also the screenwriter of Blood Ties, the Guillaume Canet thriller set to play out of Competition this year (which also stars Marion Cotillard, set to play in The Immigrant). In 2009, Gray was a member of the Competition jury.

Film he’s bringing to Cannes: The Immigrant (produced under the title Lowlife), a historical drama set in early 1920s New York. When Polish immigrant Ewa (Marion Cotillard) falls in the hands of Bruno (Joaquin Phoenix), the two-faced brute forces her to become a prostitute. However, after meeting Orlando (Jeremy Renner), Bruno’s cousin and a suave magician, Eva realizes that only he can help her escape the trap she has fallen into.

Could it win the Palme? Gray’s relationship with the festival is an interesting one, having debuted each of his films since Little Odessa in Competition yet leaving empty-handed every time. That has to end eventually, right? Maybe, but, there’s no overwhelming reason to suggest that 2013 is finally Gray’s year. That said, The Immigrant could very well hit a home run: the acting talent is full-on awards-bait, with AMPAS favorites Marion Cotillard, Joaquin Phoenix and Jeremy Renner in the cast; and the film is also a period piece, which should play nicely with Steven Spielberg. The hope here is that The Immigrant is a career best for Gray, but his stellar players may distract jury members’ attention otherwise (with Paul Thomas Anderson’s The Master still in recent memory, tipping Joaquin Phoenix’s performance as an early awards frontrunner is an easy call; likewise for Rust and Bone‘s Cotillard).

Why you should care: When the casting was announced, The Immigrant immediately became a film to watch on awards sonars. If the film leaves the Festival without any golden recognition, that’s okay: it’s not simply game over, as distributor Harvey Weinstein will assuredly make certain The Immigrant stays relevant come awards season.

ABDELLATIF KECHICHE

Background: Tunisian; born Tunis, Tunisia 1960. Kechiche’s first name is sometimes shortened to simply “Abdel.”

Known for / style: Directing Games of Love and Chance (2003), The Secret of the Grain (2007), Black Venus (2010); acting as the taxi driver in Sorry, Haters (2005); bulky narratives that stretch over two hours; casting non-actors; themes of youth and love; adhering to Ozu-esque realism.

Notable accolades: The majority of Kechiche’s awards come from French institutions like the Étoiles d’Or and the Césars (Kechiche’s The Secret of the Grain won Best Director, Best Film and Best Original Screenplay at both ceremonies). Above that is Kechiche’s prestigious Louis Delluc Prize for The Secret of the Grain. Outside of France at the Venice Film Festival, Kechiche is a known quantity: the director won a FIPRESCI prize, a Special Jury Prize, and the Young Cinema Award for The Secret of the Grain, while his Blame It on Voltaire won the Luigi De Laurentiis award in 2000. Also at Venice was Kechiche’s Black Venus, which won the Equal Opportunity Award in 2010.

Previous Cannes appearances: A son of the Lido and not of the Croisette, Kechiche has yet to debut a film at Cannes. But given his success with French critical societies outside of Cannes, Kechiche’s reputation is strong enough to bump him straight to the Competition.

Film he’s bringing to Cannes: La vie d’Adèle (Blue is the Warmest Color), a French-language drama based on the Julie Maroh graphic novel of the same name. The film stars Adele Exarchopoulos (The Round-Up), Léa Seydoux (Mission: Impossible–Ghost Protocol), Catherine Salée (Private Property), Aurélien Recoing (13 Tzameti) and newcomers Jeremie Laheurte and Sandor Funtek. At 179 minutes, Kechiche takes the perhaps-dubious honor of having the longest film in Competition; a bulky three-hour journey following 15-year-old Adèle (Exarchopoulous) as she rediscovers her sexual orientation. Seydoux plays the desirable Emma, Adèle’s new love interest, while Salée and Recoing play Adèle’s parents.

Could it win the Palme? It feels appropriate to compare La vie d’Adèle to Xavier Dolan’s 2012 Un Certain Regard picture Laurence Anyways, a similarly-themed LGBT drama that was an hour longer than most other films in the program—which, coincidentally, was one of Dolan’s biggest criticisms. Either way, whatever Kechiche has headed to the Festival is sure to be filled with erotic reveries and passionate romances, a truth that will undoubtedly help keep audiences awake. If the film is a narrative stretch, though, the topic looks to require some extensively brave performances, so something like an acting prize for the romantic leads sounds more likely than an outright Palme win (especially if the result is something that could have perhaps used a longer session in the editing bay).

Why you should care: Julie Maroh’s original graphic novel has won prestigious awards in the graphic novel community, and Kechiche’s steady camera is a worthy candidate to capture the provocative action. Meanwhile, Seydoux’s Chopard Trophy in 2009 is evidence that she has the chops to carry such a hefty picture. There’s reason for optimism here.

HIROKAZU KORE-EDA

Background: Japanese; born Tokyo, Japan, 1962.

Known for / style: Nobody Knows (2004), Still Walking (2008), I Wish (2011); directing television and documentaries in addition to narrative features; contemplative looks at mortality, loss, and memory; blurring the lines between fiction and nonfiction; incorporating autobiographical elements into his stories.

Notable accolades: On the festival circuit, Koreeda has won the Grand Prix at the Ghent International Film Festival (Nobody Knows), Best Screenplay at San Sebastián (I Wish), and Venice’s Golden Osella for Best Director (1995’s Maborosi). Maborosi also won Best Film at the Chicago International Film Festival. At the 2009 Asian Film Awards, he took home the award for Best Director (Still Walking, 2008). In his native Japan, Kore-eda is the owner of three Blue Ribbon Awards (Best Director and Best Film for Nobody Knows; Best Director for Still Walking).

Previous Cannes appearances: Koreeda has had three films at Cannes: two in Competition (2001’s Distance; 2004’s Nobody Knows) and one in Un Certain Regard (2009’s Air Doll). In 2004, Yūya Yagira’s performance in Nobody Knows took the prize for Best Actor.

Film he’s bringing to Cannes: Like Father, Like Son, a Japanese-language drama starring Masaharu Fukuyama, Machiko Ono, Lily Franky (All Around Us, 2008), and Yôko Maki (The Grudge, 2004). When a father learns his biological son was swapped with a different boy at birth, he must make the difficult choice between his actual son and the boy he sired.

Could it win the Palme? Sight unseen, Like Father, Like Son could take the cake for saddest entry at the Festival, and if that’s the case—and the film is powerful enough to affect the jury—Kore-eda could be in for his first major European festival win, whether it’s a Jury Prize or a Best Director gong. Japan is no stranger to the award; the country having won four times prior (the legendary Shohei Imamura responsible for two). With Japanese compatriot Naomi Kawase on the jury, Kore-eda should stand favorable ground against his fellow Palme contenders. Then again, a single vote is a single vote. Kore-eda’s odds to win the top prize seem difficult, but given Nanni Moretti’s Palme-winning The Son’s Room (2001), we know the topic of father-son relationships is a golden one.

Why you should care: A favorite in auteur circles, Koreeda continues to impress (and depress) with his themes of loss and death. Whether or not he can secure a stronger holding stateside remains to be seen, but a Cannes award would help considerably. It’s also nice to have a Japanese film that actually has a shot at a Palme d’Or, as Takashi Miike’s genre Competition entry Wara no Tate (with middling reviews out of Japan) seems hopeless in that regard. Either way, with his demotion to Un Certain Regard with Air Doll in 2009, Kore-eda’s bottom line victory is his return to the prestigious main event, perhaps signaling the greatness of Like Father, Like Son.

VALERIA BRUNI-TEDESCHI

Background: Italian-French; born Turin, Italy, 1964. Bruni-Tedeschi is the older sister of Carla Bruni, chanteuse and France’s previous first lady.

Known for / style: Acting in Steven Spielberg’s Munich (2005) and François Ozon’s 5×2 (2004); directing It’s Easier for a Camel… (2003) and Actrices (2007); weaving autobiographical elements into her narratives; working in television, cinema, and theater; casting herself in her films.

Notable accolades: While the majority of Bruni-Tedeschi’s awards are for her career as an actor, her directing filmography is not without merit: in 2003, she won the Louis Delluc prize for Best First Film (It’s Easier for a Camel…), a prize given by a panel of experts and headed by Cannes president Gilles Jacob; in 2007, the director won a Special Jury Prize at Cannes for her Un Certain Regard debut Actrices. For her acting, Bruni-Tedeschi holds both a César (Most Promising Actress, 1993’s Normal People Are Nothing Exceptional) and two Pasinetti Awards for Best Actress (5×2 and 1999’s Empty Days).

Previous Cannes appearances: As a director, Bruni-Tedeschi has debuted only one film at Cannes: Actrices, which played in the 2007 Un Certain Regard program. As an actress, however, she has walked the Croisette seven times: 1996’s La Seconda Volta (Competition), 1997’s The House (Un Certain Regard), 1998’s Those Who Love Me Can Take The Train (Competition), 1999’s Empty Days and La Balia (both Competition), 2005’s Time to Leave (Un Certain Regard), and Actrices.

Film she’s bringing to Cannes: Un Château en Italie (A Castle in Italy), a French-language dramatic comedy starring Bruni-Tedeschi, Louis Garrel (2003’s The Dreamers and Bruni-Tedeschi’s romantic partner), Filippo Timi (The American), and Xavier Beauvois (director of 2010 Cannes Grand Prix-winning Of Gods and Men). IMDb believes the film is about “a family forced to sell their Italian home”; other details hint at a sick brother, a family falling apart, and a romance between Louise (Bruni-Tedeschi) and Nathan (Garrel).

Could it win the Palme? From a gender perspective, Bruni-Tedeschi is the only female director in a Competition of twenty pictures; a fact that will remain, for better or for worse, at the back of everyone’s minds throughout the Festival. Fortunately for Bruni-Tedeschi, with Lynne Ramsay, Nicole Kidman, Naomi Kawase, and Vidya Balan on the Palme d’Or jury, the quartet may turn Gang Of Four and back a fellow femme. Bruni-Tedeschi’s potential allegiances look strong, and if her picture is excellent—which it may very well be—the case for a second female Palme-winner is compelling, especially in the presence of Palme laureate Jane Campion (who is set to adjudicate the 2013 Short Film program).

Why you should care: Casting herself and her real-life partner as the film’s central romance, Bruni-Tedeschi has set things up to involve a believable and natural connection, which may translate well on-screen. And while it’s a shame for a number of reasons that Un Château en Italie will be known as the “female film” in Competition, the reputations of everyone involved give promise that the film will earn more deserving labels.

AMAT ESCALANTE

Background: Mexican; born Barcelona, Spain, 1979.

Known for / style: Sangre (2005) and Los Bastardos (2008); a member of Nuevo Cine Mexicano (New Mexican cinema); collaborating with Carlos Reygadas; narratives that touch upon immigration, drug culture, sexual abuse, and violence.

Notable accolades: At the top of Escalante’s awards shelf is his FIPRESCI prize for Sangre (2005) when it debuted in Un Certain Regard. Outside of Cannes, the Bratislava International Film Festival has been good to Escalante, bestowing upon him Best Director and a Student Jury Award for Los bastardos (2008). The Thessaloniki International Film Festival gave Sangre its second-place Silver Alexander in 2005, with a purse of €22,000, while Sundance gave Escalante’s latest, Heli, a $10,000 check in the form of the NHK Award in 2010.

Previous Cannes appearances: A product of the Festival, both of Escalante’s features have played in Un Certain Regard (Sangre and Los Bastardos). 2013 marks his first time in Competition.

Film he’s bringing to Cannes: Heli, a drama shot and set in Escalante’s town of Guanajuato, Mexico. When 12-year-old Estela falls madly in love with a young police officer, the violence of the region strikes her family and complicates her plans to marry the cadet. The film features unknowns Armando Espitia, Andrea Vergara, Linda Gonzalez and Juan Eduardo Palacios.

Could it win the Palme? With fellow Mexican auteur Carlos Reygadas winning Best Director at Cannes last year (Post Tenebras Lux), the doors may have opened for Escalante to follow his success, if the film holds up (fitting, as Reygadas holds a producer’s credit on Heli). Escalante, who was assistant director on Reygadas’ Battle in Heaven (2005), has yet to compete for the Palme, meaning his jump from Un Certain Regard to the Competition is something Thierry Frémaux felt was the next step in Escalante’s budding career. And if the jury is looking for an extra reason to give Escalante some love, well—Mexico hasn’t been attached to a Palme d’Or in over forty years, and given the real (and very brutal) drug violence that occurs in modern-day Mexico, Heli’s external relevance could be off the charts.

Why you should care: Working alongside his friend and producer Carlos Reygadas, Cannes has chosen Escalante to join the established auteurs. While he has yet to gain major traction with North American audiences, that could change in but a few weeks’ time. From a cinephile’s perspective, however, Heli sounds intriguing and powerful; a devastating look at a horrible problem plaguing the Mexican landscape at large.

MAHAMAT-SALEH HAROUN

Background: Chadian; born N’Djamena, Chad, 1961.

Known for / style: Bye Bye Africa (1999), Our Father (2002), Dry Season (2006), A Screaming Man (2010); directing shorts and documentaries in addition to narrative features; casting non-actors; sensitive portrayals of childhood and maturation; setting and shooting his films in his home country.

Notable accolades: Haroun has done well for himself in the European prestige circuit, winning the Cannes Jury Prize in 2010 (A Screaming Man) as well as a number of awards at Venice (Dry Season won the UNESCO award, a Special Jury Prize, an EIUC award, and two honorable mentions in 2006; Bye Bye Africa won the title of Best First Film and a Luigi De Laurentiis Special Mention in 1999). In 2010, Haroun won both Venice’s Robert Bresson Award and São Paolo’s Humanity Prize.

Previous Cannes appearances: In 2002, Our Father played in the Director’s Fortnight down the street from the Competition. In 2010, however, Haroun’s A Screaming Man was pitted against his fellow Palme contenders, taking home the Jury Prize.

Film he’s bringing to Cannes: Grigris, a French- and Arabic-language drama following the eponymous character who aspires to be a professional dancer, despite a paralyzed leg. When his uncle is struck with a grave illness, Grigris accepts work from petrol traffickers to save him. The film features newcomers Anaïs Monory and Souleymane Démé, with known actors Cyril Gueï (Hitman), Marius Yelolo (Early Rising France), Fatimé Hadje (Dry Season) and Haroun favorite Youssof Djaoro (A Screaming Man, Dry Season).

Could it win the Palme? Though the 2013 Competition is an international event, Haroun is Africa’s only representative. And given Chad’s recent cultural renaissance—with the cinema being one of the ways locals have reclaimed their identity—a Cannes jury could feel good about giving Haroun an even bigger break than his 2010 jury prize, whether it’s the Grand Prix, Best Director, or the Palme itself. The prize can get political and some jury presidents don’t favor the Palme d’Or being simply a pat on the back for established auteurs. We already know that Spielberg is conscious of travesties in modern-day Africa, given his withdrawal as artistic advisor for the 2008 Beijing Olympics (Chinese president Hu Jintao failed to respond to Spielberg’s calls for Chinese aid in war-torn Darfur, a horrific conflict that leaked into Haroun’s home country of Chad in 2003). Without these external issues, however, Haroun’s Grigris could otherwise be an excellent film worthy of a prestigious film award—nothing more, nothing less.

Why you should care: Haroun is the champion of Chad’s cinema, supporting an arts scene in the face of violent unrest. But things have relatively stabilized in Chad following a brutal civil war, and with the success of A Screaming Man (and the reknown a Cannes jury prize bestows), the director has said a world-class film school is set to open there. “My award at Cannes has had an incredible effect,” said Haroun in an interview with the Africa Channel. “It has propelled the status and importance of cinema in Chad. Even to a political level, I’d say.”

ALEXANDER PAYNE

Background: American; born Omaha, Nebraska, 1961.

Alexander Payne © Ray Pride

Known for / styles: Election (1999), About Schmidt (2002), Sideways (2004), The Descendants (2011); shooting and setting narratives in Omaha; adultery narratives and satirical, dark humor; films that revolve around a lonely protagonist.

Notable accolades: The majority of Payne’s awards are for his adapted screenplays. At the top of the list, Payne is the recipient of two Academy Awards for Best Adapted Screenplay (The Descendants, based on the Kaui Hart Hemmings novel of the same name; Sideways, adapted from the Rex Pickett novel of the same name), with a BAFTA equivalent in 2004 for good measure (Sideways). In lieu of a Best Picture Oscar, The Descendants was AFI’s Movie of the Year in 2011.

Previous Cannes appearances: Payne has played in Competition only once (2002’s About Schmidt), but the Festival has enjoyed his company in other ways: in 2005, he was the President of the Un Certain Regard jury, while in 2006, Payne participated in anthology film Paris, je t’aime (Un Certain Regard). Last year, Payne sat on Nanni Moretti’s Competition jury.

Film he’s bringing to Cannes: Nebraska, a black-and-white dramedy starring Bruce Dern and Will Forte on a father-son road trip. When Woody (Dern) thinks he’s won a lucrative Publisher’s Clearing House prize, he travels to Nebraska with his son David (Forte) to claim the prize. Bob Odenkirk shows up for a supporting role.

Could it win the Palme? Payne was in the running for a Best Picture Oscar at the 84th Academy Awards with The Descendants, but lost to The Artist, which coincidentally premiered at Cannes. But that’s okay, as Payne can rest assured in knowing the jury has likely seen the majority of his filmography, as it is both beloved and well-known. (And hey, with Reese Witherspoon’s recent arrest making news, I can’t be the only one with plans to re-watch Election). All things considered, Payne has very strong odds: Nebraska sees him returning to his home state to shoot, and it seems unwise to bet against a world-class director working where he feels most comfortable, given how culturally significant Election and About Schmidt have become (both films were set in Omaha).

Why you should care: With Nebraska, Alexander Payne is both staying safe and branching out: shooting in his home state should mean the story is steeped in personal authority, but the director’s decision to film in black-and-white is a new look for Payne. If his second shot at a Palme d’Or doesn’t pan out, though, expect him (and Nebraska) to be a heavily-tipped awards contender come December, like every one of his films since Election.

JIA ZHANGKE

Background: Chinese; born Fenyang, Shanxi, China, 1970. “Jia” is Zhangke’s family name.

Known for / styles: The World (2004), Still Life (2006), 24 City (2008); a leader in Sixth Generation Chinese cinema, a culturally-subversive filmmaking movement founded post-Tiananmen Square; shooting documentaries, shorts, and features on shoestring budgets and digital video; casting non-actors.

Notable accolades: Jia has been the subject of continued adoration from the Venice Film Festival, which has awarded him the Netpac Award for Platform (2000), the Doc/It Award and an Open Prize for Dong (2006), the Venice Horizons Documentary Award for Wuyong (2007), and finally the Golden Lion itself (Still Life, 2006). In 2007, Still Life also landed Jia an Asian Film Award for Best Director, while the Los Angeles Film Critics Association named it Best Foreign Film the year it released stateside (2007).

Previous Cannes appearances: Jia has played in Competition twice (Unknown Pleasures, 2002; 24 City, 2008) and once in Un Certain Regard (I Wish I Knew, 2010). In 2007, he was the President of the Cinéfondation’s Short Film jury.

Film he’s bringing to Cannes: Tian Zhu Ding (A Touch of Sin), a multi-pronged and
interwoven narrative that follows four different stories from four different regions. The film is “a reflection on contemporary China: an economic giant slowly being eroded by violence,” starring Zhao Tao (Jia’s wife), Jiang Wu (Wu Xia), Wang Baoqiang (Lost in Thailand), and newcomer Luo Lanshan. The title riffs on A Touch of Zen, King Hu’s 1971 wuxia picture that was the first Chinese action film to win a prize at Cannes (the Technical Grand Prize).

Could it win the Palme? Superficially, it should be noted that Jia is the Venice Film Festival’s golden boy—but Cannes is not to be outdone. But with Taiwanese-American Ang Lee on the jury, Jia should be in good hands. Recently beating jury president Steven Spielberg in the Best Director Oscar race, the Life of Pi director certainly swings a big stick. That’s good news for Jia, as it could be up to Lee to argue for A Touch of Sin’s merit. Then again, if Jia’s latest is on the same level Venice claims he’s at (and the film is broadly appealing), we could be looking at China’s second Palme d’Or, after Chen Kaige’s 1993 Farewell My Concubine.

Why you should care: China’s Sixth Generation filmmakers are compelled to lash out against censorship and other such restrictions, which is why NPR described Jia Zhangke as perhaps “the most important filmmaker working in the world today”—and with the landscape of the film industry rapidly bending to the will of the Chinese markets, it seems critical for us to listen to their independent voices, whether or not A Touch of Sin is worthy of a Palme d’Or.

JIM JARMUSCH

Background: American; born Cuyahoga Falls, Ohio, 1953.

Known for / style: Dead Man (1995), Ghost Dog: The Way of the Samurai (1999), Broken Flowers; experimenting with vignettes; deadpan cameras; creating both features and shorts; dark comedy and minimalist structures across a variety of genres.

Notable accolades: Jarmusch is the proud owner of a Palme d’Or—but not for any of his features. His 1993 short Coffee and Cigarettes III landed the top prize of the Court Métrage program. Other Cannes wins include the Grand Prix (Broken Flowers), the Camera d’Or (Jarmusch’s 1984 debut, Stranger than Paradise), and an award for Best Artistic Contribution (Mystery Train, 1989).

Previous Cannes appearances: Jarmusch and the Festival have a storied past, going back nearly 30 years (Stranger than Paradise played in a parallel section in 1984). Since then, he has played in the Long Métrage Competition five times (Down by Law, 1986; Mystery Train, 1989; Dead Man, 1995; Ghost Dog, 1999; Broken Flowers, 2005), once in the Court Métrage Competition (1993’s Coffee and Cigarettes III), and once in Un Certain Regard (2002’s Ten Minutes Older). Jarmusch was also interviewed for out-of-Competition documentary Z Channel: A Magnificent Obsession (2004).

Film he’s bringing to Cannes: Only Lovers Left Alive, a vampire romance featuring Tom Hiddleston (The Avengers), Tilda Swinton (We Need To Talk About Kevin), Mia Wasikowska (Stoker), Anton Yelchin (Like Crazy), and John Hurt (Tinker Tailor Soldier Spy). Rekindling a centuries-old love after passing for mundane humans, the romance of Adam (Hiddleston) and Eve (Swinton) is interrupted by Eve’s chaotic younger sister Ava (Wasikowska).

Could it win the Palme? Jarmusch’s cast is strong and his hand is steady. The formula works on paper, of course, but the genre might be out of place. But it doesn’t really matter if the Jury isn’t interested, as Jarmursch has already won most everything Cannes has to offer (though some may argue his Court Métrage Palme d’Or isn’t as impressive as a feature-length counterpart). With last year’s Amour win, Michael Haneke did nothing if not prove winning streaks do predictably occur, and Jarmusch has yet to leave any given decade of Cannes Film Festivals empty-handed. Off the top, though, Tilda Swinton seems to have spent the last few months playing the game, so to speak; her performance work at the MoMA served as a reminder that she is a true artiste. In her defense, however, Swinton has never won a prize at Cannes, despite having won Best Supporting Actress awards from both BAFTA and the AMPAS (2007’s Michael Clayton). If Eve is a juicy enough character for Swinton to sink her teeth into, it’s hard to see a short-list of Best Actress potentials that doesn’t include her name on it (and with Lynne Ramsay of We Need To Talk About Kevin aboard the Jury, Swinton has a ready ally).

Why you should care: That Only Lovers Left Alive is a late addition (announced after the April 18 Official Selection reveal) says little of its relative worth: we know that Jarmusch and Cannes are inseparable, regardless of quality. But besides that (and of course besides Jarmusch’s unique and exciting filmography), there’s really only one other thing that matters here: this vampire romance isn’t Twilight.

ARNAUD DES PALLIÈRES

Background: French; born Paris, France, 1961.

Known for / styles: Farewell (2003), Parc (2008); TV documentaries and historical narratives; adapting texts into features.

Notable accolades: Given that des Pallières’ IMDb ‘STARmeter” has never been higher (higher than when his films have actually released, ironically), it’s all right if you’re blanking on who this French director is. He’s spent little time on the festival circuit, with Parc his only real shot at a European prize (Stockholm’s Bronze Horse). It didn’t win. No matter: given that his television and documentary work comprises nearly half of his filmmaking career, it’s no wonder audiences haven’t heard of him. Previous Cannes appearances: Nonexistent—des Pallières’ Cannes debut jumps him straight to the Competition, skipping typical stepping zones (Director’s Fortnight, Critic’s Week, and Un Certain Regard).

Film he’s bringing to Cannes: Michael Kohlhaas, a historical war drama based on the 1811 Heinrich von Kleist novella of the same name. Mads Mikkelsen plays the title role, while Mélusine Mayance (Sarah’s Key), Bruno Ganz (Downfall and Eric Rohmer’s Kleist adaptation, The Marquise Of O… ), and Denis Lavant (Holy Motors) show up to support. When corruption strikes, Kohlhaas gathers an army to fight for their rights. (Earlier adaptations of the text include a 1969 entry by Volker Schlöndorff.)

Could it win the Palme? It’s interesting to see a relatively unknown filmmaker make Thierry Frémaux’s Competition cut, because it speaks to a certain je ne sais quoi about the picture. Does that mean it’s an incredible film? Maybe, but not necessarily—Michael Kohlhaas does feature Cannes 2012 Best Actor Mads Mikkelsen, after all. So, des Pallières’ Croisette walk may have been fated the minute Mikkelsen signed on. On the other hand, no other festival enjoys “finding” directors as much as Cannes does—meaning if des Pallières wins his first major prize, the programmers will be able to take ample credit down the line. And might this war drama play to the ideals of the man who made Lincoln?

Why you should care: Des Pallières is ready for his close-up and international debut. In a festival like Toronto (where in 2008, Parc hid snugly in amongst the 300+ films), an Arnaud des Pallières or an Alex van Warmerdam isn’t going to get a lot of exposure. But slot them in the Competition and we take note. So while it seems disingenuous to say this could be the beginning of something great for des Pallières, the director does admittedly have a big month ahead of him. And why not? His latest film features two actors who are just coming down from career-best performances (besides Mads Mikkelsen and The Hunt, many thought Denis Lavant’s chameleon Holy Motors performance was parfait).

While not a trailer, click here to view a short look at the film, taken from the 2011 European Film Awards.

STEVEN SODERBERGH

Background: American; born Atlanta, Georgia, 1963.

Known for / styles: sex, lies, and videotape (1989), Traffic (2000), Ocean’s Eleven (2001); blending an arthouse career with Hollywood commercialism; working with a repertory company that includes actors Matt Damon, George Clooney, Julia Roberts and Channing Tatum; spanning a wide variety of genres and themes; shooting and editing his own pictures.

Notable accolades: Alongside formidable box office successes (Ocean’s Eleven was the fifth highest-grossing film of 2001), an Oscar for Best Director (Traffic, 2000) sits on Soderbergh’s mantel. Beside it is a Palme d’Or (sex, lies, and videotape), which also won a FIPRESCI prize that year. Outside of these institutions, though, Traffic remains Soderbergh’s biggest awards player, winning Best Director titles from a large group of North American awards circles.

Previous Cannes appearances: Soderbergh has a special relationship with Cannes: winning the Palme d’Or at age 26 for his 1989 debut sex, lies, and videotape, Soderbergh launched his burgeoning filmmaking career by becoming one of the youngest directors ever to win the award (Louis Malle, of 1956 Palme The Silent World, was 24 when he shared the win with Jacques-Yves Cousteau). Since his Palme, Soderbergh has played in Competition twice more: once in 1993 for King of the Hill, the other in 2008 for Che. 2007’s Ocean’s Thirteen and 1999’s The Limey both played out of Competition (the latter programming reportedly something Soderbergh was unhappy with). In 2003, Soderbergh was a Jury Member.

Film he’s bringing to Cannes: Behind the Candelabra, a film for HBO based on the affair between Liberace and Scott Thorson. Joining Soderbergh for the seventh time is Matt Damon (Thorson), while Michael Douglas plays Liberace (marking the third time he has worked with the director). Dan Aykroyd, Debbie Reynolds, and Rob Lowe turn supporting roles.

Could it win the Palme? In case you hadn’t heard, Soderbergh says, repeatedly, he’s retiring—and while many industry professionals believe these are simply idle threats (think Frank Sinatra’s recurring change of heart), if Soderbergh did finally hang up his many hats for good, it would be poetic for Cannes to open and close a director’s filmography with golden laurels. At the same time, we know that Soderbergh was hesitant on joining the Competition, but eventually persuaded by Festival director Thierry Frémaux. So now we’re curious: why wasn’t Soderbergh immediately interested? Well, perhaps Soderbergh didn’t want the pressure of going out on a high note; perhaps he is now chastened by the horse race of the Competition. Or, more simply, perhaps he feels it just isn’t his best work. The only thing we truly know is the trailer and the release date of Behind the Candelabra, which premieres on HBO May 26—the day after Cannes 2013 ends. With such an immediate post-Fest release, it’s clear that HBO doesn’t intend for Candelabra to ride a wave of press and success that Palme winners typically enjoy in the weeks following the festival. If Soderbergh wins, though, it’ll be his victory (and HBO’s dumb luck).

Why you should care: On April 27th, Soderbergh delivered a fascinating State of Cinema keynote speech at the San Francisco International Film Festival. To say the least, it was an emotional confessional of unsettling truths and candid remarks about “what’s killing cinema.” You should watch the entire address, especially if you’ve ever wondered about what giant blockbusters and endless sequels are doing to the medium. Either way, with Steven Spielberg as the head of the jury, it’ll be interesting to see if these remarks about the dark side of Hollywood mean anything when the Festival hits two weeks from now.

ASGHAR FARHADI

Background: Iranian; born Isfahan, Iran, 1972.

Known for / styles: Fireworks Wednesday (2006), About Elly (2009), A Separation (2011); narratives with ambiguous moralities; a third-generation Iranian New Wave filmmaker; writing short films and television episodes for the Islamic Republic of Iranian Broadcasting.

Notable accolades: After winning the Golden Bear at the 2011 Berlinale, the incredible A Separation went on a world-tour winning spree, securing Best Foreign Language prizes almost everywhere it played. The film was also submitted as Iran’s official entry to the 84th Academy Awards, for which it won the country’s first and only Oscar to date. But A Separation is not Farhadi’s only major awards player: About Elly won the Silver Bear at the 2009 Berlinale and the Best Narrative Feature award at Tribeca, while Fireworks Wednesday won Chicago International’s Gold Hugo.

Previous Cannes appearances: None of Farhadi’s films have played in the Festival. But his filmography is ample reason for the Festival to vet him straight to Competition.

Film he’s bringing to Cannes: Le Passé (The Past), a French-language drama starring Tahar Rahim (the lead in Cannes Grand Prix-winning A Prophet), Bérénice Bejo (Peppy Miller in 2012 Best Picture The Artist), and Ali Mosaffa (The Last Step, which starred A Separation lead Leila Hatami). The film involves a tricky divorce and a hidden past.

Could it win the Palme? The stars are aligned: Farhadi’s career is hotter than ever, and his latest leading cast has two French favorites (Rahim and Bejo won Césars for A Prophet and The Artist, respectively). Bejo and Rahim’s presence likely means Farhadi has a Jury ally in French actor Daniel Auteuil (Caché). Furthermore, Iran’s first and only Palme d’Or remains Abbas Kiarostami’s Taste of Cherry (1997), which is a shame, given how important Iranian cinema is in the global conversation. The ongoing plight of Jafar Panahi, Mohammad Rasoulof and other suppressed Iranian filmmakers would allow the 2013 Jury to get political, showing support against crippling censorship and wrongful propaganda charges—perhaps by name-dropping Farhadi’s contemporaries when presenting him with an award. This is assuming The Past is any good, of course, but the trailer and Farhadi’s pedigree make it easy to assume a certain degree of quality.

Why you should care: In the midst of unchecked Iranian censorship is Asghar Farhadi, who managed to penetrate the resistive bubble of the North American film industry with A Separation.  In theory, Farhadi’s continued fortune could help other Iranian filmmakers physically leave the country, and given how fundamental free speech is in the Western world, the success of Iranian cinema is crucial for all of us. If The Past is merely good, it will still be a key victory for Farhadi and his fellow compatriots. If it is great, well—we’re in for something special.

PAOLO SORRENTINO

Background: Italian; born Naples, Italy, 1970.

Known for / styles: Il Divo (2008), This Must Be The Place (2011), The Consequences of Love (2004); directing documentaries and narrative fiction, writing novels (Everybody’s Right, 2011), working with actor Toni Servillo and cinematographer Luca Bigazzi. Sorrentino and compatriot Matteo Garrone are sometimes credited for a revival in contemporary Italian cinema.

Notable accolades: Sorrentino has won two prizes at Cannes, including the Jury Prize (read: third place) for Il Divo and the Ecumenical Jury Prize for Sean Penn drama This Must Be The Place. The Ecumenical Jury prize is given to“works of artistic quality [that] reveal the mysterious depths of human beings… their hurts and failings as well as their hopes.” Outside of the Croisette, Sorrentino is also the owner of four David di Donatello figurines: three for The Consequences of Love (Best Film, Best Director, and Best Screenplay) and one for This Must Be The Place (Best Screenplay). Il Divo was nominated for a Best Make-up Oscar at the 82nd Academy Awards.

Previous Cannes appearances: Sorrentino has had three films in Competition: 2004’s The Consequences of Love, 2008’s Jury Prize-winning Il Divo, and 2011’s This Must Be The Place. In 2009, Sorrentino was named Jury President of the Un Certain Regard program.

Film he’s bringing to Cannes: La Grande Bellezza (The Great Beauty), which follows “an aging writer who bitterly recollects his passionate, lost youth.” The leading cast includes Toni Servillo (marking the fifth time the actor has worked with Sorrentino) and Sabrina Ferilli. Capturing The Great Beauty is Sorrentino’s favorite cinematographer, Vulcain Prize-winner Luca Bigazzi.

Could it win the Palme? It’s a tough call. At least half of the trailer for The Great Beauty looks and sounds like 2011 Palme winner The Tree of Life, with operatic music, poetic narration, and sweeping photography underlining the majesties of life. Even the narrative sounds familiar: Sean Penn spends much of The Tree of Life reflecting on the past. If The Great Beauty’s final product is as similar to The Tree of Life as it seems on paper, jury members may feel Sorrentino is trying to revisit someone else’s successful formula. If this early speculation is horribly off base, however,  there’s still reason for Sorrentino to be hopeful in 2013—especially if we see a return to his own form. He came close to winning before.

Why you should care: The Great Beauty sees Sorrentino back where he’s most comfortable: shooting in Italy with Italian dialogue. This Must Be The Place was an interesting English-language experiment, but the reception was mixed. It disappointed many who were eager to see new work from the man who made Il Divo. Sorrentino’s latest film looks strong—and with Matteo Garrone’s Reality behind it, Italian cinema can only get that much stronger when Grande Bellezza debuts locally May 21.