Cannes 2009

[Boner M]

Ridiculous! :eek:

COMPETITION:

Les Etreintes brisées de Pedro Almodovar
Fish tank de Andrea Arnold
Un prophète de Jacques Audiard
Vincere de Marco Bellocchio
Bright star de Jane Campion
Map of the sound of Tokyo d'Isabel Coixet
A l'origine de Xavier Giannoli
Le Ruban blanc de Michael Haneke
Taking Woodstock d'Ang Lee
Looking for Eric de Ken Loach
Nuit d'ivresse printanière de Lou Ye
Kinatai de Brillante Mendoza
Soudain le vide de Gaspar Noe
Thirst de Park Chan-Wook
Les Herbes folles d'Alain Resnais
The Time that remains d'Elia Suleiman
Inglourious Basterds de Quentin Tarantino
Vengeance de Johnnie To
Faces de Tsai Ming-Liang
Antichrist de Lars Von Trier

UN CERTAIN REGARD:

Mother de Bong Joon-ho
Irène d'Alain Cavalier
Precious de Lee Daniels
Demain dès l'aube de Denis Dercourt
A deriva de Heitor Dhalia
Kasi az gorbehaye irani khabar nadareh de Bahman Ghobadi
Los viajes de viento de Ciro Guerra
Le Père de mes enfants de Mia Hansen-Love
Contes de l'âge d'or de Cristian Mungiu
Tales in the darkness de Nikolay Khomeriki
Le Tsar de Pavel Lounguine
Nang Mai de Pen ek Atanaruang
Independencia de Raya Martin
Policier, adjective de Corneliu Porumboia
Mourir comme un homme de Joao Pedro Rodrigues
Eyes wide open de Paula Weiman-Kelman
Samson et Delilah de Warwick Thornton
The Silent army de Jean Van De Velde
Air doll de Hirokazu Koreeda

[Boner M]

Jury:

Isabelle Huppert (Présidente)
Asia Argento
Nuri Bilge Ceylan
Lee Chang-Dong
James Gray
Hanif Kureishi
Shu Qi
Robin Wright Penn

Jury de la Cinéfondation:

John Boorman (président)
Bertrand Bonello
Ferid Boughedir
Leonor Silveira
Zhang Ziyi

[Fezzik]

And, apparently Up is opening Cannes this year?

[Boner M]

And, apparently Up is opening Cannes this year?
Oh yeah, forgot to copy the other screenings.

Opening night:

LÃ*-haut ( :cool: ) de Pete Docter et Bob Peterson

Out of comp:

Agora de Alejandro Amenabar
L'Imaginarium du Docteur Parnassus de Terry Gilliam
L'Armée du crime de Robert Guédiguian

Séances spéciales

Mon voisin mon tueur de Anne Aghion
Manila de Raya Martin et Adolfo Alix Jr
Minye de Souleymane Cissé
L'épine dans le coeur de Michel Gondry
Pétition de Zhao Liang
Jaffa de Keren Yedaya

Séances de minuit

Panique au village de Patar et Aubier
Jusqu'en enfer de Sam Raimi
Ne te retourne pas de Marina de Van

[transmogrifier]

Insanely strong year for name directors. With Lee Chang-Dong on the jury, don't be surprised to see Park Chan-Wook take it. The Koreans are a nationalistic bunch.

[MacGuffin]

Le Ruban blanc de Michael Haneke
Soudain le vide de Gaspar Noe
Inglourious Basterds de Quentin Tarantino
Faces de Tsai Ming-Liang
Antichrist de Lars Von Trier


I am immediately interested in these entries. It's good to see Isabelle Huppert and Asia Argento in the jury, but Shu Qi? Really? I mean I'm not doubting her credibility, it just seems like an interesting and somewhat random choice. Who decides these things?

[dreamdead]

Insanely strong year for name directors. With Lee Chang-Dong on the jury, don't be surprised to see Park Chan-Wook take it. The Koreans are a nationalistic bunch.

That would be disheartening, as I'd like to think Lee would favor the ideas of a film more than the country of origin. Certainly nothing in his films feels nationalistic.

Crazy good year, though. I'll be interested in seeing these if they all come stateside:
Bright star de Jane Campion
Le Ruban blanc de Michael Haneke
Nuit d'ivresse printanière de Lou Ye
Thirst de Park Chan-Wook
Inglourious Basterds de Quentin Tarantino
Vengeance de Johnnie To
Faces de Tsai Ming-Liang
Antichrist de Lars Von Trier
Mother de Bong Joon-ho
Contes de l'âge d'or de Cristian Mungiu
Nang Mai de Pen ek Ratanaruang
Air doll de Hirokazu Koreeda

[Boner M]

Sydney Film Festival in tends to get a few Un Certain Regard titles just a few weeks after their Cannes premiere (the incredibly strong trio of Hunger, Tokyo Sonata & Of Time and the City was last year), so I hope the new Bong & Kore-eda get shown this year.

[Spinal]

Les Etreintes brisées de Pedro Almodovar
Bright star de Jane Campion
Le Ruban blanc de Michael Haneke
Soudain le vide de Gaspar Noe
Inglourious Basterds de Quentin Tarantino
Antichrist de Lars Von Trier


*faints*

[Mysterious Dude]

Alain Resnais is still alive?

[baby doll]

Jury:

Isabelle Huppert (Présidente)
Asia Argento
Lee Chang-DongSo it looks like whatever movie has the most abject sexuality in it is going to take home the Palme d'or.

[dreamdead]

So it looks like whatever movie has the most abject sexuality in it is going to take home the Palme d'or.

Well, by that principle the Palme d'or is Tsai Ming-Liang's to lose.

[Boner M]

*faints*
You're a Tarantino fan? I never realised.

[Ezee E]

Lots of genre in competition this year as well.

Has Almodovar ever won a Palme D'Or?

[NickGlass]

So it looks like whatever movie has the most abject sexuality in it is going to take home the Palme d'or.

That's precisely what I was thinking.


Has Almodovar ever won a Palme D'Or?

Nope. The only two filmmakers in competition that already have a Palme d'or on their mantle are Ken Loach (completely deserved but for a completely undeserving film, I believe) and Tarantino.

[Ezee E]

I'll have to read up on the premises of the movies, but Almodovar-Cruz reunited? I'll vote that as an early winner.

[Derek]

Alain Resnais is still alive?

And still making good films. At least Private Fears in Public Places was very good, but I know at least a few critics also loved Not on the Lips from a few years earlier.

He's got nothing on Manoel de Oliveira who's still kicking and making films at 100.

[Derek]

And yes, this looks to be an incredibly strong year at Cannes. Can't wait.

[Sycophant]

How did I miss that Bong Joon-Ho had a new film?

This would appear to be a solid lineup.

[Ezee E]

Reading the press kit now:

Inglorious Basterds is 2 hours 40 minutes, the longest of the nominated films.

It rallies about Eastern filmmakers and the reason that their movies are better is because they aren't held back by rules or traditions.

[Watashi]

Cannes Juries are so random sometimes. I would like to see more directors or perhaps film critics on the list.

[Watashi]

What won last year?

[Kurosawa Fan]

Cannes Juries are so random sometimes. I would like to see more directors or perhaps film critics on the list.

Ew. No thank you.

[Ezee E]

What won last year?
The Class.

But I disagree about film critics being on the list. I like the strange group of people they pick. All over the world, and all different types of people (although actor-favored), but previous juries have had plenty of directors, cinematographers, etc.

[balmakboor]

That'll be a mighty fierce competition. That's for sure.

I'm actually very anxious to see Taking Woodstock. I'm surprised nobody else has singled it out yet.

[Watashi]

The Class.

But I disagree about film critics being on the list. I like the strange group of people they pick. All over the world, and all different types of people (although actor-favored), but previous juries have had plenty of directors, cinematographers, etc.
Meh. I'd rather have more James Grays than Shu Qis on the list.

I wouldn't mind seeing a Chaw, Gonzalez, or a D'Angelo on the jury considering their eccentric tastes.

[Sycophant]

I'm actually very anxious to see Taking Woodstock. I'm surprised nobody else has singled it out yet.

It had a pretty lackluster trailer that we all moaned about in the UFE. I'm still looking forward to it, though.

[balmakboor]

It had a pretty lackluster trailer that we all moaned about in the UFE. I'm still looking forward to it, though.

Oh trailers schmailers! They've fooled me in both directions too many times. I'm thinking The Ice Storm meets Almost Famous leading to great period details from my personal favorite period in American history. It's a can't miss for me -- unless it's one of those "It looked great on paper things..." ;)

[Amnesiac]

He's got nothing on Manoel de Oliveira who's still kicking and making films at 100.

Yeah, I asked this a couple weeks ago in the Film Discussion thread and didn't get any replies... but has anyone actually seen any of de Oliveira's films? I wanted to look into his work myself and was looking for some recommendations.

[baby doll]

Has Almodovar ever won a Palme D'Or?He's kind of the Susan Lucci of Cannes.

[baby doll]

but has anyone actually seen any of de Oliveira's films?I've seen Je rentre Ã* la maison and A Talking Picture--both definitely worth checking out.

[baby doll]

The Class.And deservedly so. I've seen eleven of the films in last year's official line-up (the other ten are Adoration, Blindness, Changeling, Gomorra, Il Divo, La Frontière de l'aube, Le Silence de Lorna, Synecdoche, New York, Three Monkeys and Two Lovers, and I'll probably see Che tomorrow), and with the possible exception of Egoyan's, it's the best of the bunch.

[baby doll]

Nope. The only two filmmakers in competition that already have a Palme d'or on their mantle are Ken Loach (completely deserved but for a completely undeserving film, I believe) and Tarantino.Also, Jane Campion for The Piano.

[Ezee E]

Yeah, looking back at last year's list. While many movies were good, there wasn't much to be truly excited about. In the end, nothing was masterful either.

[Mysterious Dude]

I kind of wish Cannes would give more attention to newer filmmakers. I mean Pedro Almodovar, Michael Haneke, Ang Lee, Ken Loach, Quentin Tarantino, Lars Von Trier... do they really need Cannes?

[DavidSeven]

Well, there's already a million and a half film festivals largely devoted to new filmmakers without distribution deals. Do we really need another one?

Cannes is the big show. It's the arthouse Oscars featuring the who's who of that circuit. Don't really see the point of stripping away that status and making it just like every other film festival in the world.

[balmakboor]

I kind of wish Cannes would give more attention to newer filmmakers. I mean Pedro Almodovar, Michael Haneke, Ang Lee, Ken Loach, Quentin Tarantino, Lars Von Trier... do they really need Cannes?

I think it's more a matter of Cannes needing them. Would we be as excited if the competition consisted of 20 films by people we've never heard of?

[[ETM]]

I think it's more a matter of Cannes needing them. Would we be as excited if the competition consisted of 20 films by people we've never heard of?

*We* would. But Cannes needs to sell tickets, so the "names" are welcome.

[balmakboor]

;155506']*We* would. But Cannes needs to sell tickets, so the "names" are welcome.

Really? I doubt if *we* would. We'd be intrigued by the possibilities of new discoveries. But that's not the same as OMG! Tarantino, Lee, Tsai, Almodovar, Campion, Haneke, Noe, Von Trier, ... OMG!!

[Pop Trash]

I'm surprised there aren't more American films in competition. In particular I'm thinking of the new Jarmusch and Soderbergh. Usually the French love their films and Soderbergh's The Girlfriend Experience is supposed to be a companion piece to the Palm d'Or winning Sex, Lies, and Videotape which just celebrated its 20th birthday this year. I'm wondering if they were submitted and rejected? Did they decide they weren't worthy? Or were they just not submitted? Hmmm...curious.

[[ETM]]

Really? I doubt if *we* would. We'd be intrigued by the possibilities of new discoveries.

I was thinking same level of quality, only new people almost all the time. Utopian but a pleasant scenario to dream of.

[Sycophant]

Haha, oh man. Has this become a "how it ought to work" thread?

There are some names on that list that I don't recognize, and my reaction was not to Google them and find out what promise they held, but thought I'd wait and see if they continued to make waves.

But maybe I'm the exception there?

[NickGlass]

Yeah, looking back at last year's list. While many movies were good, there wasn't much to be truly excited about. In the end, nothing was masterful either.

The winner is masterful.

[Spinal]

You're a Tarantino fan? I never realised.

Sure, I just don't like Death Proof.

[Spinal]

Meh. I'd rather have more James Grays than Shu Qis on the list.

I wouldn't mind seeing a Chaw, Gonzalez, or a D'Angelo on the jury considering their eccentric tastes.

Ugh, no frickin' bloggers on the Cannes jury please.

[NickGlass]

I'm surprised there aren't more American films in competition. In particular I'm thinking of the new Jarmusch and Soderbergh. Usually the French love their films and Soderbergh's The Girlfriend Experience is supposed to be a companion piece to the Palm d'Or winning Sex, Lies, and Videotape which just celebrated its 20th birthday this year. I'm wondering if they were submitted and rejected? Did they decide they weren't worthy? Or were they just not submitted? Hmmm...curious.

I'm guessing it has more to do with timing than criticism of their quality. Jarmusch's The Limits of Control opens in New York City in a week and Soderberg's The Girlfriend Experience is screening at the freakin' Tribeca Film Festival. That doesn't make the slate seem very exclusive and buzz-worthy. Almodovar's film may have already been released in Spain, but it's not opening until the end of May in France and November (grrr) in the USA. Plus, it's Almodovar.

[transmogrifier]

;155506']*We* would. But Cannes needs to sell tickets, so the "names" are welcome.

*I* wouldn't. How can you possibly get excited by an unknown director with a film that no-one has seen yet?

[Winston*]

Half the people on the jury are directors, don't know what Watashi's talking about.

[number8]

I would strangle any one of those directors just to go to Cannes this year. That's how good it is. I'll let you guys pick who.

No Tarantino, please. Too obvious.

[Sycophant]

8, I admit it looks good, but I don't think they'd let you into Cannes if you strangled Ken Loiach.

[Spinal]

Fish tank de Andrea Arnold

Whoa, I missed this one the first time. Really looking forward to this too.

[D_Davis]

Shu Qi?

Really?

[Bosco B Thug]

Shu Qi?

Really?
The body of Shu Qi. The mind of Walter Chaw. Imagine!

I didn't know who this Shu Qi was until I looked her up - then Google Image'd a little bit to further realize my above creation - but I hope she's actually really frickin brilliant and critical minded!

Absolutely excited about Cannes. Of course it's never guarantee for quality, but this is really a director superstar line-up this year.

[number8]

8, I admit it looks good, but I don't think they'd let you into Cannes if you strangled Ken Loiach.

Then I'll strangle Michael Haneke instead, film it, and say that it's an ironic example of emotional perception and context. Why would the attending film lovers get upset over Haneke's murder, yet not if I do it several miles away to a nobody, and not filmed? What does that say about violence and film in general?

They'll have to let me in.

[Ezee E]

Almodovar's movie will already be released in Spain?

I'll have to guess something else.

[NickGlass]

Almodovar's movie will already be released in Spain?

I'll have to guess something else.

Yes, in March. But, like, I said, it's Almodovar.

[Sycophant]

Yes, in March. But, like, I said, it's Almodovar.

More like Palmed'ordovar.

[Ezee E]

Yes, in March. But, like, I said, it's Almodovar.

Good enough to get in, but won't win.

[Amnesiac]

I only know Shu Qi from her performance in the great Millennium Mambo.

[B-side]

More like Palmed'ordovar.

http://i211.photobucket.com/albums/bb202/mrbrightside_album/forumgif1.gif

[Grouchy]

Hell, it makes sense that Almodóvar's movies get released first in Spain. If I was Spanish, I'd be pissed off if it were otherwise.

And why do you guys have a problem with hot Taiwanese girls giving awards to movies?

[Ezee E]

And why do you guys have a problem with hot Taiwanese girls giving awards to movies?

GREAT point.

[MacGuffin]

And why do you guys have a problem with hot Taiwanese girls giving awards to movies?

Oh, no problem. It just struck me as strange considering I don't think she's been recognized for anything since 2005.

[Sycophant]

I have seen Shu Qi in three things:

Very good performances
Millennium Mambo
Viva Erotica (this is a really good film, BTW)

Bizarre, borderline inhuman performances
Gorgoeus

[Stay Puft]

She was wonderful in Three Times.

And after this post, we should go back to pretending Gorgeous never happened. For the sake of everybody involved in that project.

[number8]

Her best was Transporter.

[Sycophant]

I think about Gorgeous way too frequently. Pretty much everything about that movie is bizarre and inexplicable, even for a wacky Hong Kong romantic comedy. Strange-ass Stephen Chow cameo. Oh, man.

The only thing I really remember liking was Emil Chau's villain character. That was something kind of special.

[balmakboor]

I think about Gorgeous way too frequently. Pretty much everything about that movie is bizarre and inexplicable, even for a wacky Hong Kong romantic comedy. Strange-ass Stephen Chow cameo. Oh, man.

The only thing I really remember liking was Emil Chau's villain character. That was something kind of special.

You do realize it is pretty silly to spoiler an entire post.

[MacGuffin]

You do realize it is pretty silly to spoiler an entire post.

Read post 65.

[Sycophant]

You do realize it is pretty silly to spoiler an entire post.

I realize a lot of things. But I did not wish to anger Stay Puft for so baldly mentioning that film I'm supposed to be pretending doesn't exist.

EDIT: Or read post #69.

[balmakboor]

Rosebud is his childhood sled.

[number8]

Ben Affleck is the killer.

I am cruel.

[Sycophant]

fasozupow's spoiler refers to Citizen Kane.

number8's spoiler refers to EVERY MOVIE EVER MADE.

[number8]

number8's spoiler refers to EVERY MOVIE EVER MADE.

Yes, but which one?

[Sycophant]

Yes, but which one?

I'm specifically thinking of From Here to Enternity.

[lovejuice]

http://other-worlds-cafe.com/news/blog/wp-content/uploads/2007/05/spoilertee.jpg

[balmakboor]

Goddamnit. Now none of us have any reason to see The Empire Strikes Back.

[lovejuice]

i actually don't know what's kristin (shoot?) j.r. refers too.

[Sycophant]

i actually don't know what's kristin (shoot?) j.r. refers too.

It's from Dallas, a primetime soap opera popular in America during the eighties.

[EyesWideOpen]

Hey, I have that shirt.

[number8]

HOLY FUCKING SHIT.

Hey, guess who else has a new film at Cannes. Oh, nothing, just SHINYA TSUKAMOTO'S 3RD TETSUO MOVIE.

:pritch::pritch::pritch:


First pic here (http://www.justpressplay.net/movies/movie-news/5281-a-third-qtetsuoq-movie-mindplosion.html).

[Stay Puft]

The Bullet Man is actually a new Tetsuo movie? He's been talking about a third Tetsuo for so long I can barely believe that it's actually finally happening.

Also, you saw the second Nightmare Detective? No good? I was hoping for something more visually interesting based on the trailer.

[Grouchy]

HOLY FUCKING SHIT.

Hey, guess who else has a new film at Cannes. Oh, nothing, just SHINYA TSUKAMOTO'S 3RD TETSUO MOVIE.

:pritch::pritch::pritch:


First pic here (http://www.justpressplay.net/movies/movie-news/5281-a-third-qtetsuoq-movie-mindplosion.html).
That's fucking awesome indeed. And I haven't even seen the second one yet!

[MacGuffin]

Mike D'Angelo writes in his Listen Eggroll blog about how his Cannes articles will be featured on the A.V. Club website starting Wednesday.

[KK2.0]

Tetsuo rocked my world a few years back but i still need to watch the sequel properly, the only copy i've found was dubbed in spanish and that truly ruined the experience.

[KK2.0]

RIDICULE! so many big names and interesting movies this year!

Les Etreintes brisées de Pedro Almodovar
Bright star de Jane Campion
Le Ruban blanc de Michael Haneke
Taking Woodstock d'Ang Lee
Looking for Eric de Ken Loach
Soudain le vide de Gaspar Noe
Thirst de Park Chan-Wook
Inglourious Basterds de Quentin Tarantino
Faces de Tsai Ming-Liang
Antichrist de Lars Von Trier
Mother de Bong Joon-ho
A deriva de Heitor Dhalia
Policier, adjective de Corneliu Porumboia
Air doll de Hirokazu Koreeda
LÃ*-haut ( :cool: ) de Pete Docter et Bob Peterson
Agora de Alejandro Amenabar
L'Imaginarium du Docteur Parnassus de Terry Gilliam
L'épine dans le coeur de Michel Gondry
Jusqu'en enfer de Sam Raimi

[MacGuffin]

So it looks like whatever movie has the most abject sexuality in it is going to take home the Palme d'or.

That said, Antichrist should win the Palme d'or.

I'm so excited to read about coverage! All of these movies are looking spectacular, especially Antichrist and Enter the Void.

[Pop Trash]

So far...Up is rocking people's worlds.

[baby doll]

So far...Up is rocking people's worlds.What did you expect? A divisive, controversial big tent summer family movie--from Pixar, no less?

[baby doll]

Just for ha-ha's, what I think should've won the Palme d'Or...

2008: Still too early to say, but Laurent Cantet's Entre les murs was certainly deserving; it's only real competition would be Atom Egoyan's Adoration.
2007: Marjane Satrapi and Vincent Paronnaud's Persepolis.
2006: Sofia Coppola's Marie Antoinette.
2005: Lars von Trier's Manderlay, though the Dardennes' L'Enfant is a close second and was certainly deserving.
2004: Lucrecia Martel's The Holy Girl.
2003: Lars von Trier's Dogville, though Gus Van Sant's Elephant is a close second and was certainly deserving.
2002: Olivier Assayas' demonlover.
2001: Michael Haneke's La Pianiste.
2000: Wong Kar-wai's In the Mood for Love.

1999: Bruno Dumont's L'Humanité, though the Dardennes' Rosetta was certainly deserving.
1998: Theo Angelopoulos' Eternity and a Day.
1997: Atom Egoyan's The Sweet Hereafter.
1996: Lars von Trier's Breaking the Waves, but I still haven't seen André Téchiné's Les Voleurs or Hou Hsiao-hsien's Goodbye, South, Goodbye.
1995: Jim Jarmusch's Dead Man, but Emir Kusturica's Underground was deserving.
1994: Atom Egoyan's Exotica.
1993: Hou Hsiao-hsien's The Puppetmaster. (Who knew Joel Schumacher's Falling Down was at Cannes that year, and an official selection no less?)
1992: Paul Verhoeven's Basic Instinct, although I've seen practically none of the other films, including Terence Davies' The Long Day Closes.
1991: Jacques Rivette's La Belle noiseuse.
1990: The only one I've seen is David Lynch's Wild at Heart, but I figure anything else has to be better, and I'm looking forward to Jean-Luc Godard's Nouvelle vague and Clint Eastwood's White Hunter, Black Heart especially.

1989: Spike Lee's Do the Right Thing, obviously.
1988: Claire Denis' Chocolat, but I've seen virtually nothing else from that year.
1987: Peter Greenaway's The Belly of an Architect.
1986: Andrei Tarkovsky's The Sacrifice.
1985: Paul Schrader's Mishima: A Life in Four Chapters, but I've seen virtually nothing else from that year.
1984: Wim Wenders' Paris, Texas.

[trotchky]

Just this decade because I haven't seen enough from past years:

2008: Synecdoche, New York
2007: Death Proof
2006: Marie Antoinette
2005: Caché
2004: Tropical Malady
2003: Dogville
2002: Punch-Drunk Love
2001: The Piano Teacher
2000: In the Mood for Love

[Spinal]

2008: ...
2007: No Country for Old Men
2006: Babel
2005: Manderlay
2004: Fahrenheit 9/11 or Nobody Knows
2003: Dogville
2002: Irreversible
2001: Mulholland Dr.
2000: Dancer in the Dark
1999: The Straight Story
1998: The Celebration
1997: The Sweet Hereafter
1996: Breaking the Waves
1995: Ed Wood
1994: Queen Margot
1993: The Piano
1992: The Player
1991: Europa

... and I'll stop there.

[Ezee E]

Spinal, I'm kind of surprised you liked Irreversible. Doesn't seem like your thing.

[Philosophe_rouge]

I'm particularly bored tonight, so I'll do as many years as I can. IMDB makes this sorta easy, though there are so many films I haven't seen, I would hardly call any of my selections definete. Yea, this was completely demoralizing, I only chose for years where Iv'e seen 3 or more films... makes me feel like I've seen nothing.

2008- Un Conte de Noel (I'm seeing Adoration in the next week or so, I've been anticipating it for ages. Hopefully it can change my mind on this. I also reallly liked the Class though, I'm not dissapointed with the win at all).
2007- No Country for Old Men (Haven't seen the winner)
2006- Marie Antoinette (I didn't like The Wind that Shakes the Barley at all)
2005- NA, I've only seen two of the nominees. Not really fair to choose, especially since I'm not enthousiastic about either.
2003- The Brown Bunny (Haven't seen Elephant)
2001- Mulholland Dr. (Haven't seen The Son's Room)
2000- In the Mood for Love (Haven't seen Dancer in the Dark)
1997- NA (I've only sen 2, though I like them both quite a bit, The Sweet Hereafter and La femme defendue)
1994- Exotica
1993- NA (I've only seen the Piano, which I do like)
1984- NA (I ADORE Paris, Texas though... the only other nominee I've seen is Under the Volcano which is pretty good).
1971- Walkabout (Haven't seen the Go-Between.... need more Losey)
1963- To Kill a Mockingbird
1962- The Innocents
1960- La Dolce Vita (only the slightest edge over Ballad of a Soldier, this was a n cinredible year.)
1957- Nights of Cabiria
1955- East of Eden (Not a huge fan, don't really like the only other two films I've seen, Bad Day at Black Rock and the Country Girl)
1953- I Confess
1951- All About Eve
The ones before 1950 don't work the same :/

[soitgoes...]

2008: A Christmas Tale, but still have lots to see.
2007: Paranoid Park
2006: Babel
2005: A History of Violence, but L'Enfant is very deserving
2004: Oldboy
2003: Elephant
2002: PDL
2001: Mulholland Dr.
2000: Dancer in the Dark
1999: Rosetta
1998: The Hole
1997: Funny Games
1996: Breaking the Waves
1995: Underground
1994: Three Colors: Red
1993: Naked
1992: The Player by default
1991: La Belle noiseuse

This showed me how much I still have/need to see.

[Raiders]

2007: Gus Van Sant's Paranoid Park
2006: Guillermo Del Toro's Pan's Labyrinth
2005: Hou Hsiao-hsien's Three Times
2004: Wong Kar-wai's 2046
2003: Gus Van Sant's Elephant
2002: David Cronenberg's Spider
2001: Hirokazu Kore-eda's Distance
2000: Arnaud Desplechin's Esther Kahn
1999: Dardennes' Rosetta
1998: Erick Zonca's The Dreamlife of Angels
1997: Atom Egoyan's The Sweet Hereafter
1996: Mike Leigh's Secrets & Lies
1995: Jim Jarmusch's Dead Man
1994: Atom Egoyan's Exotica
1993: Mike Leigh's Naked
1992: ---
1991: Jacques Rivette's La belle noiseuse
1990: ---
1989: Patrice Leconte's Monsieur Hire
1988: ---
1987: Barbet Schroeder's Barfly
1986: Neil Jordan's Mona Lisa

[Grouchy]

Ok.

2008 - Waltz with Bashir
Others seen: The Class - Blindness - Changeling - La Mujer sin Cabeza [The Headless Woman] - Leonera [Lion's Den]

2007 - Zodiac
Others seen: The Man from London - Death Proof - My Blueberry Nights - No Country for Old Men - Paranoid Park - Persepolis - Silent Night

2006 - Pan's Labyrinth
Others seen: Babel - Lights in the Dusk - Marie Antoinette - Southland Tales - Volver

2005 - Caché
Others seen: L'Enfant - Broken Flowers - Election - Manderlay - Sin City

2004 - Oldboy
Others seen: Fahrenheit 451 - 2046 - Clean - The Motorcycle Diaries - Innocence - La Niña Santa [The Holy Girl] - Shrek 2 - The Ladykillers - The Life and Death of Peter Sellers - Life is a Miracle

2003 - Dogville
Others seen: Elephant - La Petite Lili - Mystic River - Swimming Pool

2002 - The Pianist (won)
Others seen: About Schmidt - Irreversible - The Man without a Past - Punch-Drunk Love - Russian Ark - Spider

2001 - Mulholland Dr.
Others seen: The Piano Teacher - Moulin Rouge! - No Man's Land - Shrek - The Man who wasn't There - The Pledge

2000 - In the Mood for Love
Others seen: Dancer in the Dark - Code Unknown - O Brother Where Art Thou?

[Pop Trash]

What did you expect? A divisive, controversial big tent summer family movie--from Pixar, no less?
No...but...the word 'disappointment' comes to mind.

[KK2.0]

2004: Lucrecia Martel's The Holy Girl.

I truly liked the narrative style of this film, but despite the great direction at display i barely remember anything else.

[MacGuffin]

Just wanted to point out, continuing coverage on the festival on its official website. They have videos up of the jury press conference, the Up! press conference, etc., etc. and I'm guessing they will probably update it daily. The second best thing to being there, I suppose. I'm excited to hear about movies I am anticipating as well as those I know little about.

[baby doll]

No...but...the word 'disappointment' comes to mind.Have they ever made a film that didn't get a ninety-plus score on the Tomatometer?

[Boner M]

Have they ever made a film that didn't get a ninety-plus score on the Tomatometer?
Cars.

Also, I just found out that Tsai Ming-Liang's Face is screening at the Sydney Film Festival. Eat it, suckaz.

[baby doll]

Cars.Well, at 75 percent, it still has a higher approval rating than Obama.

[trotchky]

And like Obama, Pixar's output is designed to be unassuming and offensive to the least number of people possible.

[number8]

And like Obama, Pixar's output is designed to be unassuming and offensive to the least number of people possible.

I'm pretty sure many people found Finding Nemo and Wall-E offensive.

[MacGuffin]

I'm pretty sure many people found Finding Nemo and Wall-E offensive.

I didn't find either to be on the better side of Pixar's output, but offense? I can't imagine how (well, maybe a bit for Wall-E, but it's mostly harmless).

[number8]

I didn't find either to be on the better side of Pixar's output, but offense? I can't imagine how (well, maybe a bit for Wall-E, but it's mostly harmless).

Some people detest movies that give messages to their kids. That was the main problem many parents had with Wall-E, that it supposedly tried to indoctrinate kids into going green.

As for Finding Nemo, I remember the complaints that the film made a big deal about empathizing with the emotional plight of fishes being captured. Oh, and of course, the fact that the movie starts with a massacre. And made a point about sewage in the sea.

I didn't say they were rational.

[MacGuffin]

Okay, thanks. I've only seen Wall-E once and Finding Nemo not in a long time. I can understand why some people may be put off by these things, but would also not disagree with someone who might tell these people to lighten up a bit.


the fact that the movie starts with a massacre.

Can you refresh my memory on this one?

[number8]

Can you refresh my memory on this one?

It opens with Nemo's mother and siblings being eaten.

[number8]

Oh, I should also clarify... trotchky did say "least amount of people". I'm really just playing Devil's A here.

[MacGuffin]

It opens with Nemo's mother and siblings being eaten.

Ah, okay. I remember that one.

[Spinal]

Some people detest movies that give messages to their kids.

Those people are pretty dumb because pretty much all films for kids deliver them a moral message.

[Mysterious Dude]

2008 - Gomorra
2007 - The Diving Bell and the Butterfly
2006 - Babel
2005 - Caché
2004 - Clean (I never realized how bad the selection was this year. Maybe that's why Fahrenheit 9/11 won)
2003 - Elephant (bolded films actually did win the Palm d'or)
2002 - Punch-Drunk Love
2001 - Moulin Rouge!
2000 - Dancer in the Dark
1999 - The Straight Story
1998 - The Celebration
1997 - Funny Games
1996 - Fargo
1995 - Dead Man
1994 - Pulp Fiction
1993 - The Piano / Farewell, My Concubine (The jury gave the award to both films that year. That seems about right to me.)
1992 - Hyènes

I'd be stretching credibility if I were to go back any further.

[baby doll]

2004 - Clean (I never realized how bad the selection was this year. Maybe that's why Fahrenheit 9/11 won)Have you seen 2046, The Holy Girl, Mondovino or Tropical Malady? Either way, it was definitely an off-year for the official selection, to say nothing of the awards which smacked of desperation (best actor for the little boy in Nobody Knows, for instance).

[MacGuffin]

Have you seen 2046, The Holy Girl, Mondovino or Tropical Malady? Either way, it was definitely an off-year for the official selection, to say nothing of the awards which smacked of desperation (best actor for the little boy in Nobody Knows, for instance).

Have you seen The Headless Woman yet? I haven't watched The Holy Girl, but if its anything like The Headless Woman, — slow, surreal, clever, visually stunning — then it has to be great. Also: 2046 sucks, and this is coming from someone who loves Chungking Express and is ambivalent towards In the Mood for Love, but applauds its spectacular visuals, yet still sees little else to enjoy (however, I can see why other people like it). It's just too empty, too superficial, and relies too heavily on a recycled visual style. Tropical Malady is amazing.

[baby doll]

Have you seen The Headless Woman yet? I haven't watched The Holy Girl, but if its anything like The Headless Woman, — slow, surreal, clever, visually stunning — then it has to be great. Also: 2046 sucks, and this is coming from someone who loves Chungking Express and is ambivalent towards In the Mood for Love, but applauds its spectacular visuals, yet still sees little else to enjoy (however, I can see why other people like it). It's just too empty, too superficial, and relies too heavily on a recycled visual style. Tropical Malady is amazing.I haven't seen The Headless Woman, but after La ciénaga and The Holy Girl, I can't wait.

I wouldn't say that 2046 is one of the great Wong Kar-wai films, but I loved the style of the film, which isn't like any other 'Scope movie I've seen. Instead of what you'd expect (panoramic landscapes and that sort of thing), Wong opens up the aperture for a shallow depth of field with lots of soft focus clutter in the foreground. In some shots, a wall will take up two-thirds of the image, pushing the action to the far side of the screen. I wasn't that interested in the story, but the visual style is really neat.

Anyway, asside from Tropical Malady, it's still better than any of the movies that won prizes that year (Clean, Comme une image, Fahrenheit 9/11, Nobody Knows, Oldboy; I haven't seen Exils or The Lady Killers, but then I haven't heard anything good about either).

[Rowland]

Mike D'Angelo twittering from Cannes:

Taking Woodstock ('09 Lee): 49. Another fucking Wiki-movie. Typical bit: It ends with a cutesy gonna-be-even-more-awesome ref to Altamont.

Thorn in the Heart ('09 Gondry): 16. I have half a dozen perfectly nice aunts who've led happy nondescript lives. Be glad I have no camera.

Don't Look Back ('09 De Van): 44. Crushing disappointment. Gets wrong everything that SKIN did right; it's like a New Twilight Zone episode.

Bright Star ('09 Campion): 50. I gather this is pretty kind of okay if you don't support legislation that would ban all biopics.

Tetro ('09 Coppola): 48. Looks fantastic but OMFG enough with the daddy issues people.

Thirst ('09 Park): 56/B-. This picture has a number of awesome scenes but no rhythm or flow whatsoever. And it adds little to vampire lore.

Air Doll (Kore-eda): 55/B-. A little too cute to achieve the profundity it's clearly after. Upgrade if you thought BEING THERE was profound.

Fish Tank ('09 Arnold): 54/C+. Solid enough but *exceedingly* familiar kitchen-sink/angry-young-(wo)man piece with great M. Fassbender perf.

Spring Fever ('09 Lou): 30. Soap opera as "art film." Two deadly hours of anguished humping and plate-smashing recriminations.

The Girl on the Train ('09 Téchiné): 63. Beautifully made, but at a certain point I thought "this has to be speculation about some... ...real-life incident that I just never heard about." Which it in fact is, I learn from the Variety review. And it totally plays like it.

Up ('09 Docter): 77/B+. Gets a little sappy at times, but the story keeps throwing delightful curveballs and the dogs are just pure gold.

[MacGuffin]

Mike D'Angelo twittering from Cannes:

More complete coverage from D'Angelo at A.V. Club (http://www.avclub.com/features/cannes-film-festival/?utm_source=sidebar_cannes).

[B-side]

Mike D'Angelo twittering from Cannes:

Judging from these little blurbs, I'm not sure what to think of this guy. He's obviously not aiming for depth in the blurbs, though, so I'll reserve judgment. Why does he add the release year, though?:P

[MacGuffin]

Judging from these little blurbs, I'm not sure what to think of this guy. He's obviously not aiming for depth in the blurbs, though, so I'll reserve judgment. Why does he add the release year, though?:P

Can you not quote the entire post? Also, see the link I provided if you want depth; Twitter has a 100-something word post limit.

[B-side]

Can you not quote the entire post? Also, see the link I provided if you want depth; Twitter has a 100-something word post limit.

lol sorry about that

[MacGuffin]

lol sorry about that

It's no problem, just a pet peeve (I don't like scrolling down excessively).

[B-side]

It's no problem, just a pet peeve (I don't like scrolling down excessively).

I can't say I really blame you. I guess it slipped my mind.

[Ezee E]

D'Angelo should take a day off from movies and enjoy the beachside methinks.

[MacGuffin]

D'Angelo should take a day off from movies and enjoy the beachside methinks.

There's too much potential. Besides, I'm sure he can find time to enjoy the beach between screenings and at dark.

[Ezee E]

There's too much potential. Besides, I'm sure he can find time to enjoy the beach between screenings and at dark.
Two days into the festival makes me think he hasn't left the theater.

[Winston*]

I have learned from past film festivals that going to 4 movies in a day is like 2 too many movies.

[Sycophant]

Huh. D'Angelo's grading scale is even wacker than I thought it was. "55/B-"?

Pity about the Gondry film. I've got a gut feeling that he's right about it. Really looking forward to when he's directing other people's scripts again.

[baby doll]

D'Angelo should take a day off from movies and enjoy the beachside methinks.I dunno, last year I went to PIFF, which is the biggest film festival in Asia, and saw tons of high profile films that were just okay. I'm sure if you dig up my blog posts on Treeless Mountain, Il Divo, Wendy and Lucy, Three Monkeys, Lost Song, Of Time and the City, Frozen River, Le Silence de Lorna, Revanche, Still Walking, Liverpool, and Night and Day, I must come off as even more of a crank than D'Angelo.

Overall, however, I still find him pretty glib, even in his longer pieces.

[Ezee E]

I dunno, last year I went to PIFF, which is the biggest film festival in Asia, and saw tons of high profile films that were just okay. I'm sure if you dig up my blog posts on Treeless Mountain, Il Divo, Wendy and Lucy, Three Monkeys, Lost Song, Of Time and the City, Frozen River, Le Silence de Lorna, Revanche, Still Walking, Liverpool, and Night and Day, I must come off as even more of a crank than D'Angelo.

Overall, however, I still find him pretty glib, even in his longer pieces.
I've done 4 films a day in Telluride.

I've done two films a day in Telluride, and spent some of the day around Telluride.

The latter experience is so much better, even if I missed out on some movies that I would later be able to rent on Netflix.

[baby doll]

I've done 4 films a day in Telluride.

I've done two films a day in Telluride, and spent some of the day around Telluride.

The latter experience is so much better, even if I missed out on some movies that I would later be able to rent on Netflix.There was only one day where I saw four movies, so maybe I wasn't in the right state of mind for Revanche, but generally I'm with D'Angelo that most high profile festival movies are just pretty good.

[Rowland]

Huh. D'Angelo's grading scale is even wacker than I thought it was. "55/B-"?My grading scale isn't too dissimilar:

50-54 = C+
55-59 = B-
60-69 = B
70-74 = B+
75-79 = A-
80-89 = A
90-100 = A+

[Bosco B Thug]

D'Angelo liked Bong Joon-Ho's Mother!

Mother ('09 Bong): 65/B. A bit one-note, but that note gets increasingly and awesomely discordant as it goes along. Great title perf.

The out-of-comp Amenabar and the Johnnie To play today. Antichrist tomorrow. *bites nails*

[MacGuffin]

D'Angelo liked Bong Joon-Ho's Mother!

Mother ('09 Bong): 65/B. A bit one-note, but that note gets increasingly and awesomely discordant as it goes along. Great title perf.

The out-of-comp Amenabar and the Johnnie To play today. Antichrist tomorrow. *bites nails*

The daily schedule on the Cannes website seems to be wrong, because whenever I go and check out what I'm going to be reading about the next day, only one show up and D'Angelo seems to be seeing movies that show up in the schedule a day later. Regardless, I predict Antichrist to win the Palme d'Or.

[Rowland]

The out-of-comp Amenabar and the Johnnie To play today. Antichrist tomorrow. *bites nails*If D'Angelo is seeing the To picture, I doubt he'll appreciate it much, given that he isn't a big fan of the director.

[Bosco B Thug]

If D'Angelo is seeing the To picture, I doubt he'll appreciate it much, given that he isn't a big fan of the director.

Exiled impressed me. Only To film I've seen, but I was more struck by that film than the only Park film I've seen (Oldboy), so I wasn't too bummed about the low marks for Thirst. Probably an egregious comparison... "kinetic action! Asian filmmaker"... And Oldboy wasn't bad...

Then again, this is one guy. D'Angelo, at that. Most people, I think, really praised the new Andrea Arnold and Campion.

[baby doll]

Regardless, I predict Antichrist to win the Palme d'Or.Has it even premiered yet? It seems really early to tell, since there's only been one article on the festival in the New York Times, which was more concerned with the general mood of the festival as it gets underway than any specific films, and Ebert has done two blog entries in a row in which he didn't report on a single film.

One observation: seemingly all the Asian films (Kore-eda, Lou, Park) were screened in the first few days, generated mix buzz, and will probably be forgotten completely come award time.

[MacGuffin]

Has it even premiered yet?

Nope, just a prediction based on all things considered. Word of mouth says Jane Campion's Bright Star is the best movie that has premiered so far.

[baby doll]

Nope, just a prediction based on all things considered. Word of mouth says Jane Campion's Bright Star is the best movie that has premiered so far.Well, Campion's is certainly the most high profile film that's premiered. At the Auteurs' Notebook, they've devoted two entries (so far) to Pedro Costa's documentary about Jeanne Balibar, Ne change rien, which sounds fascinating.

[MacGuffin]

Well, Campion's is certainly the most high profile film that's premiered. At the Auteurs' Notebook, they've devoted two entries (so far) to Pedro Costa's documentary about Jeanne Balibar, Ne change rien, which sounds fascinating.

Yeah, but that's not even in competition. I was mostly referring to "best film" in the context of those that were. I admittedly haven't been paying much attention to the movies out of competition, but perhaps I should. I didn't know that The Auteur's Notebook was doing Cannes coverage (I've been reading D'Angelo's at the A.V. Club).

[Rowland]

Word of mouth says Jane Campion's Bright Star is the best movie that has premiered so far.Glad to hear it, given that this is her first directorial effort since the unfairly maligned In the Cut, which I thought was rather impressive in many respects.

[baby doll]

Any who, just for ha-has, this is what it would look like if I were handing out prizes for in the films in competition in 2005:

Palme d'or: Manderlay by Lars von Trier
Grand Prix: L'Enfant by Jean-Pierre and Luc Dardenne
Best Actor: Daniel Autueil in Caché
Best Actress: Déborah François in L'Enfant
Prix de la mise en scène: Hou Hsiao-hsien for Three Times
Best screenplay: A tie between Guillermo Arriaga for The Three Burials of Melquiades Estrada and Atom Egoyan for Where the Truth Lies
Prix du jury: Last Days by Gus Van Sant

[Stay Puft]

The daily schedule on the Cannes website seems to be wrong, because whenever I go and check out what I'm going to be reading about the next day, only one show up and D'Angelo seems to be seeing movies that show up in the schedule a day later.

D'Angelo is seeing the movies in press screenings. The schedule on the Cannes website is the "regular" schedule. During the premiere for Thirst, for example, the newscaster mentioned that the press saw the film the day before.

[MacGuffin]

D'Angelo is seeing the movies in press screenings. The schedule on the Cannes website is the "regular" schedule. During the premiere for Thirst, for example, the newscaster mentioned that the press saw the film the day before.

Ah, okay. Makes sense. Thanks.

[B-side]

Any who, just for ha-has, this is what it would look like if I were handing out prizes for in the films in competition in 2005:

Palme d'or: Manderlay by Lars von Trier


I'd be interested in your thoughts on this.

[Watashi]

I have a feeling the Prix de la mise en scène is going to Tarantino.

It's a damn shame Up isn't part of the competition. Has any animated film ever been in competiton at Cannes?

[Ezee E]

I have a feeling the Prix de la mise en scène is going to Tarantino.

It's a damn shame Up isn't part of the competition. Has any animated film ever been in competiton at Cannes?
Yes, Waltz with Bashir last year is one.

[Winston*]

Yes, Waltz with Bashir last year is one.
And Persepolis the year before.

[Ezee E]

And Persepolis the year before.
Also... Shrek.

[Spinal]

And Shrek 2.

[MacGuffin]

Jacques Audiard's A Prophet is getting some big buzz.

[baby doll]

I'd be interested in your thoughts on this.What's there to say? I'm a huge fan of Lars von Trier (more so his English-language co-productions than his Danish films, which are less ambitious, like he's just killing time in between bigger projects), and this is no less a provocation than Breaking the Waves. That film viewed repressive religious beliefs from the point of view of a post-sexual revolution Europe (embodied by the Katrin Cartlidge character), but then throws a huge wrench in the machinery with the Emily Watson character, who confounds both. Manderlay begins with a similarly enlightened perspective on slavery (here embodied by the Bryce Dallas Howard character), but then takes the position that many African-Americans still have a slave mentality; that slavery never really ended--which to me is the perfect antidote to the self congratulatory "post-racial" hooey of Rachel Getting Married.

[baby doll]

Jacques Audiard's A Prophet is getting some big buzz.Kinatay is the most divisive so far, and that's the one I want to see--especially since I didn't get to see Mendoza's Serbis at PIFF last year.

MENDOZA!!!

[Ezee E]

Jacques Audiard's A Prophet is getting some big buzz.
Audiard hasn't done a bad movie yet, if this is his best yet, I'll be very excited.

[MacGuffin]

Kinatay is the most divisive so far, and that's the one I want to see--especially since I didn't get to see Mendoza's Serbis at PIFF last year.

D'Angelo compared it in terms of content to Irréversible (did you like this one?) and called it audacious, but ultimately, he said he didn't know how to approach it and that it's not the sort of thing he could claim to like.


Audiard hasn't done a bad movie yet, if this is his best yet, I'll be very excited.

I still haven't seen any of his movies myself. The Beat That My Heart Skipped is supposed to be good, but is that movie that it is based off of, Fingers, prerequisite viewing?

[baby doll]

D'Angelo compared it in terms of content to Irréversible (did you like this one?) and called it audacious, but ultimately, he said he didn't know how to approach it and that's it's not the sort of thing he could claim to like.Like D'Angelo, I also loved Irréversible. Also, I've never seen a movie from the Philippines, so that's another reason to see it (or wait until Serbis hits DVD).

[Ezee E]

D'Angelo compared it in terms of content to Irréversible (did you like this one?) and called it audacious, but ultimately, he said he didn't know how to approach it and that it's not the sort of thing he could claim to like.



I still haven't seen any of his movies myself. The Beat That My Heart Skipped is supposed to be good, but is that movie that it is based off of, Fingers, prerequisite viewing?
Never seen or even heard of Fingers. So...

Also, Read My Lips is fantastic.

[MacGuffin]

Also, Read My Lips is fantastic.

Ah, nice, Vincent Cassel's in that one, I'll have to check it out.

[Raiders]

Toback's Fingers is a terrific movie, so I would recommend viewing it regardless of necessity. Can't say I have seen the update by Audiard.

[MacGuffin]

Antichrist ('09 Von Trier): Uh.......................yeah.

From here. (http://www.twitter.com/gemko)

[Spinal]

From here. (http://www.twitter.com/gemko)

So that would be good?

[MacGuffin]

So that would be good?

No clue. Did some searching around Twitter for other thoughts and all I could find was that, supposedly, the movie has a lot of nudity (which I basically already knew).

[Watashi]

Alex Billington tweeted about Antichrist: "Oh my freakin' god... Antichrist is the most fucked up thing this year... It gives Park Chan-wook a run for his money, holy crap!!"

[MacGuffin]

Alex Billington tweeted about Antichrist: "Oh my freakin' god... Antichrist is the most fucked up thing this year... It gives Park Chan-wook a run for his money, holy crap!!"

Well, shit. I almost can't wait. :frustrated:

[Watashi]

Agora is getting really mixed reactions. I just heard about the film a few days ago and it sounds terrific.

[MacGuffin]

Here's a link to the Twitter page Watashi mentioned; it has a few responses regarding the movie. http://twitter.com/firstshowing

[Watashi]

When does Inglourious Basterds premiere? Tomorrow?

[Spinal]

Yeah, I'm really hoping Antichrist gets over to the States quick. This wait could be painful.

[MacGuffin]

Kinatay press conference on the Cannes Film Festival website. (http://www.festival-cannes.com/en/mediaPlayer/9840.html)

Some interesting stuff there. The director seems like an intelligent guy. A question is asked about twenty minutes in along the lines of how the director feels other countries as interpreting it as a horror movie, rather than the real life story that it is. Also addressed: how the film was thought up, mass weddings in the Philippines, some minor plot points seem to be given away, etc.

[MacGuffin]

Yeah, I'm really hoping Antichrist gets over to the States quick. This wait could be painful.

Dogville played at the AFI Fest 2003 in Los Angeles after it premiered in Cannes the same year, so I'm hoping the festival will see Antichrist and Enter the Void and then they may get a limited release soon after. But yes, the wait is already becoming painful and it's only gonna get worse. ;)

[MacGuffin]

I don't know what this dude's "initial reports" are, but supposedly:


According to initial reports, several people left the theatre in disgust. After the movie finsihed there were several who bgan to shout insults.

Apparently the movie is very excplicit, involving bodily mutilation and human sacrifice. http://www.imdb.com/title/tt0870984/board/flat/138190546

[MacGuffin]

I know this movie's supposed to be shocking, but wow... (http://www.reuters.com/article/entertainmentNews/idUSTRE54G2JF20090517)

[Melville]

I know Antichrist is supposed to be provocative, but wow. (http://uk.reuters.com/article/entertainmentNews/idUKTRE54G2K120090517?pageNumb er=2&virtualBrandChannel=0)
Suddenly I'm psyched.

[Raiders]

Suddenly my interest has gone from nominal to nil.

[MacGuffin]

That linked to page 2 of the article for those who missed that.

[Watashi]

Suddenly my interest has gone from nominal to nil.
Pretty much.

[Winston*]

Cannes audiences always seem insufferable.

[MacGuffin]

It’s not often that you leave a movie and feel like you’ve just experience a moment in cinematic history.

“Antichrist,� which premiered Sunday night at the Cannes Film Festival, made me feel that way. Director Lars Von Trier has made a movie that looks like it will be more controversial than anything he’s ever done, and that’s saying quite a bit. I can’t imagine how he’ll deal with the press tomorrow. At the end of the screening, half of the room was applauding and the other half was booing.

The movie’s violence has an emotional impact that hasn’t been seen since Gaspar Noe’s “Irreversible,� which premiered here a few years ago.

http://www.austin360.com/blogs/content/shared-gen/blogs/austin/austinmovies/entries/2009/05/17/antichrist_in_cannes.html

[Watashi]

That linked to page 2 of the article for those who missed that.
Wait... a talking fox?

Now I must see this film.

[Watashi]

Cannes audiences always seem insufferable.
They are the ones who gave Clerks II a 10 minute standing ovation.

[eternity]

Now I must ask:

Just what the fuck is this movie?

[MacGuffin]

Now I must ask:

Just what the fuck is this movie?

You couldn't figure it out based on the numerous links posted on the last page and Google?

[soitgoes...]

Now I must ask:

Just what the fuck is this movie?

Up

[eternity]

You couldn't figure it out based on the numerous links posted on the last page and Google?
I think you misunderstood the tone of my question.

[Ivan Drago]

Now I must ask:

Just what the fuck is this movie?

It isn't Freddy Got Fingered.

And it doesn't go to 11.

[MacGuffin]

Jeffery Wells has less than positive things to say about the movie.

http://hollywood-elsewhere.com/2009/05/antichrist_fart.php

[Pop Trash]

Hahahaha...wow so this is in like The Happening or Wicker Man remake territory? Now all those people that tried to convince me that Dogville wasn't just the pretentious, cooler version of The Village can finally shut the fuck up.

[MacGuffin]

Ingmar Bergman meets Saw

http://business.theglobeandmail.com/servlet/story/RTGAM.20090517.WBwcannesblog20 090517170555/WBStory/WBwcannesblog

[MacGuffin]

Hahahaha...wow so this is in like The Happening or Wicker Man remake territory? Now all those people that tried to convince me that Dogville wasn't just the pretentious, cooler version of The Village can finally shut the fuck up.

I so want to neg rep this.

[Spinal]

I so want to neg rep this.

Well, by his standards, differences of opinion are fair game.

[Raiders]

Hahahaha...wow so this is in like The Happening or Wicker Man remake territory? No all those people that tried to convince me that Dogville wasn't just the pretentious, cooler version of The Village can finally shut the fuck up.

What does Antichrist have to do with Dogville? That's like saying after seeing Topaz, all those people who tried to convince me Vertigo wasn't just some lame, incoherent "twist" movie can suck it.

[MacGuffin]

Well, by his standards, differences of opinion are fair game.

It's not even his lack of respect for someone elses' opinion, it's his tone that bothers me.

[Pop Trash]

I so want to neg rep this.

If it makes you feel any better, I'd still really love to see this. I hold a special place in my heart for The Wicker Man remake.

[MacGuffin]

If it makes you feel any better, I'd still really love to see this. I hold a special place in my heart for The Wicker Man remake.

What the hell does that have to do with anything?

[Pop Trash]

What does Antichrist have to do with Dogville? That's like saying after seeing Topaz, all those people who tried to convince me Vertigo wasn't just some lame, incoherent "twist" movie can suck it.
You've never seen a film by a certain director that made you second guess previous films in their oeuvre? I do that quite often. After being disappointed by Revolutionary Road, I wondered if American Beauty was as good as I initially thought. Then usually (well sometimes) the director rights themself later and all is well. Who knows...I might like Antichrist. I like The Idiots a lot and that film was certainly trashed on.

[MacGuffin]

Okay, trying again. Antichrist ('09 Von Trier): 19 (if serious)/91 (if someone can persuade me it's the greatest prank in cinema history).

But you know what? Either way, I love Lars for just making something that had the entire theater fucking slackjawed.


http://twitter.com/gemko

[eternity]

Hatred of Dogville and Manderlay aside, I'm pumped for this now.

[MacGuffin]

The thoughts are coming in quickly now.

http://www.movieline.com/2009/05/at-cannes-antichrist.php

[Pop Trash]

The plot of this seems like a loose remake of Don't Look Now.

[Watashi]

D'Angelo gave it a 19.

[Watashi]

Yet D'Angelo says it could also be a 91.

[Ezee E]

Tarantino's movie premieres Wednesday Wats.

And it wouldn't be Lars von Trier if it had the hate it or love it reaction. I can't say I've seen a bad movie from him, so I look forward to this highly. The Ingmar Bergman meets Saw comparison is just awesome.

[Pop Trash]

Tarantino's movie premieres Wednesday Wats.


What's the last day of Cannes?

[Spinal]

D'Angelo gave it a 19.

Works for me. That guy's a tit.

[MacGuffin]

D'Angelo believes the movie may be a prank.

[Ezee E]

What's the last day of Cannes?
the 24th I believe.

[Melville]

Ebert says Antichrist is the most despairing film he's ever seen. Now I'm really psyched.

http://blogs.suntimes.com/ebert/2009/05/for_even_now_already_is_it_in. html

[Pop Trash]

the 24th I believe.
Ah, so still quite a few movies left. Has Almodovar ever won the Palm D'Or? If not my money is on him now.

[Ezee E]

Ah, so still quite a few movies left. Has Almodovar ever won the Palm D'Or? If not my money is on him now.
He has not. I was also going with him as my prediction. However, it should be noted that his film already opened in Spain. I'd like to think that Cannes would pick a movie that premiered at its festival as the winner.

[Pop Trash]

He has not. I was also going with him as my prediction. However, it should be noted that his film already opened in Spain. I'd like to think that Cannes would pick a movie that premiered at its festival as the winner.

True, plus they might want to support a lesser known director like Cantet with The Class last year.

Also, I was thinking that Isabelle Huppert is president of the jury and me thinks she seems like the type that would like Antichrist (this is the woman who starred in Ma Mere and The Piano Teacher after all) but I still don't think it will win anything.

[Ezee E]

True, plus they might want to support a lesser known director like Cantet with The Class last year.

Also, I was thinking that Isabelle Huppert is president of the jury and me thinks she seems like the type that would like Antichrist (this is the woman who starred in Ma Mere and The Piano Teacher after all) but I still don't think it will win anything.
There's simply too many movies left to judge right now. Haneke, Tarantino, Almodovar... Campion got some good reviews. I have high expectations from Noe.

Audiard's movie sounds like it has the most overall positive praise right now.

[MacGuffin]

There's simply too many movies left to judge right now. Haneke, Tarantino, Almodovar... Campion got some good reviews. I have high expectations from Noe.

Audiard's movie sounds like it has the most overall positive praise right now.

Noé!!! Come on, man, have you seen the screenshots?

[Ezee E]

Noé!!! Come on, man, have you seen the screenshots?
I mentioned his name. I've been anticipating this movie for 2-3 years. It sounds like it may have the same reaction as Irreversible which certainly won't be one that a jury would vote for.

[baby doll]

Campion got some good reviews.Just judging by Manohla Dargis' description ("I do sometimes wish there were a bit more wildness amid the fluttering"), I'm guessing this isn't really the sort of film Isabelle Huppert, Asia Argento and James Gray are going to get behind. Then again, who would've guessed that a jury headed by David Lynch would give the top prize to The Pianist, or that one headed by a filmmaker as romatic as Wong Kar-wai would swoon for The Wind That Shakes the Barley and Flandres?

[Ezee E]

Just judging by Manohla Dargis' description ("I do sometimes wish there were a bit more wildness amid the fluttering"), I'm guessing this isn't really the sort of film Isabelle Huppert, Asia Argento and James Gray are going to get behind. Then again, who would've guessed that a jury headed by David Lynch would give the top prize to The Pianist, or that one headed by a filmmaker as romatic as Wong Kar-wai would swoon for The Wind That Shakes the Barley and Flandres?
I'm sure that the jury just votes as a group, and whoever has the most votes wins. The Head of the Jury is just recognition.

[MacGuffin]

I'm sure that the jury just votes as a group, and whoever has the most votes wins. The Head of the Jury is just recognition.

Yeah, that's what I would have guessed, but I watched their press conference and it seemed like they were going for an approach literally like a jury would: less like a voting thing and more like a "one decision" thing.

[baby doll]

I'm sure that the jury just votes as a group, and whoever has the most votes wins. The Head of the Jury is just recognition.I remember reading a few years ago that the decision to award L'Enfant the Palme d'Or was a compromise between two factions in the jury--one headed by president Emir Kusturica which backed Broken Flowers (which was finally given the Grand Prix), and the other led by Agnès Varda which was rooting for Caché (winner Prix de la mise en scène). Furthermore, juries are supposed to spread the prizes around, so I imagine they sit around and talk it out and work towards a compromise, rather than writing their picks on a piece of paper and putting them all in a hat or something.

[Bosco B Thug]

Bwahahahaha!

I would've actually preferred the film ("Antichrist") received traditional, sober praise... but oh well, this response was much more in-the-cards (the love/hate/rioting/disgust/arousal).

At least it doesn't sound like its going into the auteur-goes-horror junk bin, even if the genre might not have gotten Von Trier's most sophisticated and erudite treatment.

[MacGuffin]

Even if it does end up to be a bad movie, which I doubt it will, at least it seems like it could give von Trier the spiritual energy to make more movies, especially those along the lines of say Breaking the Waves and Dogville.

[baby doll]

Even if it does end up to be a bad movie, which I doubt it will, at least it seems like it could give von Trier the spiritual energy to make more movies, especially those along the lines of say Breaking the Waves and Dogville.Or, according to Ebert, cause him to seek treatment for depression.

[MacGuffin]

Or, according to Ebert, cause him to seek treatment for depression.

Well, didn't von Trier say that this movie helped him get past his depression and was the most important film of his career in that way?

[baby doll]

I would've actually preferred the film ("Antichrist") received traditional, sober praise... but oh well, this response was much more in-the-cards (the love/hate/rioting/disgust/arousal).When has a film by Trier ever been greeted with "traditional, sober praise"? Breaking the Waves nearly turned Jonathan Rosenbaum into a schizophrenic (see the opening paragraph of his long review); Dancer in the Dark won the Palme d'or, yes, but it was widely reviled by about fifty percent of the people who saw it; and Dogville and Manderlay weren't any less divisive. That's part of the reason I like the guy: he makes films that are capable of causing a ruckus--unlike the anything-to-get-people-to-like-me spirit of Almodóvar in crowd-pleaser autopilot mode (see Volver).

[baby doll]

Well, didn't von Trier say that this movie helped him get past his depression and was the most important film of his career in that way?I dunno, maybe. Who knows? Maybe it was just a stunt to get his name in the papers, or maybe he just wanted some time off from producing Danish porn.

[Bosco B Thug]

When has a film by Trier ever been greeted with "traditional, sober praise"? Breaking the Waves nearly turned Jonathan Rosenbaum into a schizophrenic (see the opening paragraph of his long review); Dancer in the Dark won the Palme d'or, yes, but it was widely reviled by about fifty percent of the people who saw it; and Dogville and Manderlay weren't any less divisive. That's part of the reason I like the guy: he makes films that are capable of causing a ruckus--unlike the anything-to-get-people-to-like-me spirit of Almodóvar in crowd-pleaser autopilot mode (see Volver).
Yeah, I know all that. I was mainly speaking as a fan of the horror genre, and lamenting the fact that we have a filmmaker here who has evoked incredibly precise, incredibly stimulating sociological treatises in his previous films, and when he makes his foray into the horror genre, remarks about the film's philosophical plumbing seem relegated to the usual horror tropes of "the depths of depravity and evil!" and this taking the horror genre to the "extreme" as if that's the only place interesting for horror films to go. All I'm saying is I would've preferred this turn out being, like, the surprise 3rd part in his America trilogy. Just with supernatural elements and blood. Haha.

[Pop Trash]

I really like Almodovar, but you are right about Volver. It seemed like Almodovar for Grandmas. Abusing women is wrong mmmkay?! Give me Talk to Her or Bad Education any day over Volver.

[Boner M]

Something tells me that Argento and Huppert will convince the rest of the jury to give Antichrist the Palme D'or.

[MacGuffin]

Something tells me that Argento and Huppert will convince the rest of the jury to give Antichrist the Palme D'or.

I was thinking the same thing. :)

[B-side]

What's there to say? I'm a huge fan of Lars von Trier (more so his English-language co-productions than his Danish films, which are less ambitious, like he's just killing time in between bigger projects), and this is no less a provocation than Breaking the Waves. That film viewed repressive religious beliefs from the point of view of a post-sexual revolution Europe (embodied by the Katrin Cartlidge character), but then throws a huge wrench in the machinery with the Emily Watson character, who confounds both. Manderlay begins with a similarly enlightened perspective on slavery (here embodied by the Bryce Dallas Howard character), but then takes the position that many African-Americans still have a slave mentality; that slavery never really ended--which to me is the perfect antidote to the self congratulatory "post-racial" hooey of Rachel Getting Married.

I don't know that I'm OK with the film being boiled down like that. Like, I understand Trier's position and, of course, agree, but 2 and a half hours to come to that conclusion? I can't help but feel like there's more at play. I never hear anyone speak of the fact that Howard's character ends up doing the exact same act(whipping Isaach's character) that she was so offended by in the beginning.

[baby doll]

I don't know that I'm OK with the film being boiled down like that. Like, I understand Trier's position and, of course, agree, but 2 and a half hours to come to that conclusion? I can't help but feel like there's more at play. I never hear anyone speak of the fact that Howard's character ends up doing the exact same act(whipping Isaach's character) that she was so offended by in the beginning.Well, that's part of the point, that just as the African-American characters have internalized their roles as slaves, she in turn has internalized her role as the master.

As far as Trier needing two and a half hours to come to that conclusion, I think that's a rather reductive way of looking at it. Does Liar Liar need ninety minutes to tell us that we shouldn't lie? Apart from whatever thesis Trier wants to get across about America, the film is really involving and dramatic.

[B-side]

Well, that's part of the point, that just as the African-American characters have internalized their roles as slaves, she in turn has internalized her role as the master.

I like that. The way you put it. Good stuff.


As far as Trier needing two and a half hours to come to that conclusion, I think that's a rather reductive way of looking at it. Does Liar Liar need ninety minutes to tell us that we shouldn't lie? Apart from whatever thesis Trier wants to get across about America, the film is really involving and dramatic.

I wasn't really trying to be reductive. I'm a fan of the film myself. Found it very engaging and daring. I mean, has anyone even attempted to approach this subject nearly as frankly and intelligently as Trier did? Or, for that matter, has anyone even attempted to approach it at all? Regardless, the stage setting lent the film a more approachable feel and laid the film's dramatic aspects bare for the audience to dissect. Dogville is the better film, but Manderlay deserves recognition, I think. Can't wait for Washington.

[baby doll]

Can't wait for Washington.I'm still anticipating Anti-Christ. The fact that Charlotte Gainsbourg's in it just sweetens the deal.

[MacGuffin]

I'm still anticipating Anti-Christ. The fact that Charlotte Gainsbourg's in it just sweetens the deal.

Indeed! Although, I hope the movie doesn't portray her in such a way where I can never look at her the same way again.

[baby doll]

Indeed! Although, I hope the movie doesn't portray her in such a way where I can never look at her the same way again.You mean, as pretty?

[B-side]

I'm still anticipating Anti-Christ. The fact that Charlotte Gainsbourg's in it just sweetens the deal.

Oh God, yes, After those reactions, I'm shaking in anticipation.

[MacGuffin]

You mean, as pretty?

Actually, mostly as an actress: we always hear about these career-changing performances and this seems to be one of them.

[balmakboor]

I'd say our chances of ever seeing Antichrist the way it screened at Cannes are being reduced to a very low order of probability.

http://www.variety.com/review/VE1117940286.html?categoryid=3 1&cs=1

(I can't say I'm rooting for him. I've found all three of his films that I've seen -- Breaking the Waves, Dancer in the Dark, and Dogville -- to be pretty great, but he also seems to me quite a sadistic prick. So, if this turns out to be a truly great work of provocation like, say, Salo, then I'll cheer. If it ends the guy's career, as some are suggesting, I'll shed no tears.)

[MacGuffin]

Just watched the interview on the Cannes Film Festival website with von Trier, Dafoe and Gainsbourg. Jeez, von Trier seems kinda rude. He said something along the lines of: "What are you talking about?" to the interviewer and gave all sorts of short answers. Dafoe didn't seem to much better, surprisingly. Gainsbourg was a delight; I hope we see her in more movies (she was brilliant in I'm Not There).

[Spinal]

I'll never understand the "he makes great films but I don't like his personality" argument. Who the hell cares?

[Grouchy]

I'll never understand the "he makes great films but I don't like his personality" argument. Who the hell cares?
I agree. Strangely, we never see this kind of remark about Golden Era assholes like Fritz Lang or Otto Preminger.

[Raiders]

I'll never understand the "he makes great films but I don't like his personality" argument. Who the hell cares?

What are you referring to here? He does come off like an asshole, but I don't see anyone using that to defend their dislike of his movies.

[Spinal]

I'd say our chances of ever seeing Antichrist the way it screened at Cannes are being reduced to a very low order of probability.

http://www.variety.com/review/VE1117940286.html?categoryid=3 1&cs=1

(I can't say I'm rooting for him. I've found all three of his films that I've seen -- Breaking the Waves, Dancer in the Dark, and Dogville -- to be pretty great, but he also seems to me quite a sadistic prick. So, if this turns out to be a truly great work of provocation like, say, Salo, then I'll cheer. If it ends the guy's career, as some are suggesting, I'll shed no tears.)

I was referring to this post in particular.

[balmakboor]

What's so odd about my statement? I said hooray if the film is a masterpiece. We can't have too many of those. But Von Trier is about the last person I'd ever want to have a beer with.

By the way, is it really true that the ends always justify the means? Dancer in the Dark and The Shining could've been made just as effectively without their directors resorting to torturing their heroines.

[Kurosawa Fan]

But Von Trier is about the last person I'd ever want to have a beer with.

*winces*

[Watashi]

I'd like to have a beer with Kurosawa Fan.

[Spinal]

Please do not get me started on the myth of Lars von Trier 'torturing' Bjork.

[Melville]

Apparently, at the press conference in Cannes, Trier said "I am the best film director in the world. I’m not sure if God is the best God in the world." Awesome and hilarious.

Also, the description of the scenes of gore in the film sound pretty grotesque:
http://nymag.com/daily/entertainment/2009/05/so_what_happens_to_willem_dafo es_genitals.html

[balmakboor]

Please do not get me started on the myth of Lars von Trier 'torturing' Bjork.

Myths always have some basis in truth. Now, if that truth has nothing to do with von Trier really torturing Bjork, then I'll catch the first plane I can afford and buy the man some suds.

I carefully worded that so I still won't ever have to have a beer with him since I can hardly afford bus fair to the next town let alone a plane ticket.

[balmakboor]

Apparently, at the press conference in Cannes, Trier said "I am the best film director in the world. I’m not sure if God is the best God in the world." Awesome and hilarious.

Also, the description of the scenes of gore in the film sound pretty grotesque:
http://nymag.com/daily/entertainment/2009/05/so_what_happens_to_willem_dafo es_genitals.html

Wow! A case where the reader comments were actually better than the article.

[Watashi]

And my anticipation has now vanished.

Oh well, we'll always have Dogville.

[balmakboor]

And my anticipation has now vanished.

Oh well, we'll always have Dogville.

It's amazing what seriously jaded viewers like us can sit through. This sounds no worse than a number of scenes in Sick: The Life & Death of Bab Flanagan, Supermasochist. And that was all real.