Cannes Archive for May, 2013

Routing Cannes 66: A Wrap

In an unprecedented move, the Steven Spielberg-led jury awarded the Palme d’Or to one film and three individuals: Blue is the Warmest Color, by director Abdellatif Kechiche with actresses Adèle Exarchopoulos and Lea Seydoux.

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Palme d’Or Winner Review: La Vie d’Adèle (Blue is the Warmest Color)

Blue is the Warmest Color is a staggering motion picture, so big and so important and so full of life. It represents a milestone in on-screen sexuality, putting another nail in the coffin of old-world ignorance and prudishness, but it’s also a cinematic achievement in acting. In short, it’s a true opus.

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Cannes Out-Of-Competition Review: All Is Lost

All is Lost is less concerned with what this story is “about” and more with how it all goes down (to be sure, the picture could be summarized in a single sentence). Rather, the actions and subsequent emotions are the narrative here; the expressions on Redford’s face speaking volumes despite the film’s outright lack of dialogue.

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Cannes Competition Review: Only God Forgives

Only God Forgives is essentially the nastiest highlights of Shakespeare’s “Titus Andronicus” and Sophocles’ “Oedipus Rex” wrapped around a revenge dance tête-à-tête, an equation that could have been more than the gratuitous, hyper-violent indulgence on show.

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Cannes Competition Review: Behind The Candelabra

Resembling the face of Liberace himself, Steven Soderbergh’s Behind the Candelabra is a dazzling albeit saggy film, made competently and with sincere respect to its topic despite losing steam in its second hour.

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Cannes Competition Review: Inside Llewyn Davis

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.

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Cannes’ Gilles Jacob On Negotiating With Scorsese’s Agent

Cannes’ Gilles Jacob On Negotiating With Scorsese’s Agent

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Cannes Competition Review: Jimmy P.: Psychotherapy Of A Plains Indian

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.

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What’s New And What’s Old About Jia Zhangke’s Cannes Entrant A Touch Of Sin

What’s New And What’s Old About Jia Zhangke’s Cannes Entrant A Touch Of Sin

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Starter Pistol Fired Twice During Cannes Christoph Waltz-Daniel Auteuil Interview

Starter Pistol Fired Twice During Cannes Christoph Waltz-Daniel Auteuil Interview

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Zia And Farhadi In Cannes And At Home

Zia And Farhadi In Cannes And At Home

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Cannes Competition Review: Jeune Et Jolie

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.

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“all of my choices – right, wrong or indifferent; all the eyeball-rolling and easy swipes – which by the way I’m used to … well, he also suffered from that. Fitzgerald was, in quotation marks, a clown, just like I am.””

“All of my choices–right, wrong or indifferent; all the eyeball-rolling and easy swipes–which by the way I’m used to … well, he also suffered from that. Fitzgerald was, in quotation marks, a clown, just like I am.”

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Dargis First-Days Cannes

Dargis First-Days Cannes

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WeinsteinCo To Sequelize Crouching Tiger

WeinsteinCo To Sequelize Crouching Tiger

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Wesley Morris Offers Cannes Day 1 Weather Report

Wesley Morris Offers Cannes Day 1 Weather Report

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Cannes Competition Review: Heli

Escalante turns the camera on his hometown of Guadajuato to grapple with two of Mexico’s biggest problems: cartel and drug-related violence. Taken together, the result is a rattling experience, but still a fine film.

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“The first rule of making the most out of attending the Cannes Film Festival: Learn how to tie a bowtie — or buy a damned clip-on.”

“The first rule of making the most out of attending the Cannes Film Festival: Learn how to tie a bowtie—or buy a damned clip-on.”

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Luhrmann Lashes

Luhrmann Lashes

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Stephen Frears On The Secrets Of His Cannes Jury

Stephen Frears On The Secrets Of His Cannes Jury

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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