Cannes 2017

[Spinal]

Competition

Loveless, Andrei Zvyagintsev
Good Time, Benny and Josh Safdie
You Were Never Really Here, Lynne Ramsay
L'Amant Double, Francois Ozon
A Gentle Creature, Sergei Loznitsa
The Killing of a Sacred Deer, Yorgos Lanthimos
Hikari (Radiance), Naomi Kawase
The Day After, Hong Sangsoo
Le Redoutable, Michel Hazanavicius
Wonderstruck, Todd Haynes
Happy End, Michael Haneke
The Beguiled, Sofia Coppola
120 Battements par Minute, Robin Campillo
Okja, Bong Joon-Ho
Aus dem Nichts (In the Fade), Fatih Akin
Les Fantomes D’Ismael, Arnaud Desplechin
The Meyerowitz Stories, Noah Baumbach

Out-of-Competition

How to Talk to Girls at Parties, John Cameron Mitchell
Visages, Villages, Agnes Varda & JR
Mugen Non Junin (Blade of the Immortal), Takashi Miike

Un Certain Regard

Barbara, Mathieu Amalric
A Novia Del Desierto (The Desert Bride) by Cecilia Atan &Valeria Pivato
Tesnota (Closeness) by Kantemir Balagov
Aala Kaf Ifrit (Beauty and The Dogs), Kaouther Ben Hania
L’Atelier, Laurent Cantet
Fortunata (Lucky), Sergio Castellito
Las Hijas de Abril (April's Daughter), Michel Franco
Western, Valeska Grisebach
Posoki (Directions), Stephan Komandarev
Out, Gyorgy Kristof
Sanpo Suru Shinryakusha (Before We Vanish), Kiyoshi Kurosawa
En Attendant Les Hirondelles (The Nature of Time), Karim Moussaoui
Lerd (Dregs), Mohammad Rasoulof
Jeune Femme, Leonor Serrraille
Wind River, Taylor Sheridan
Apres La Guerre (After the War), Annarita Zambrano

Special Screenings

Claire’s Camera, Hong Sangsoo
12 Jours, Raymond Depardon
They, Anahita Ghazvinizadeh
Promised Land, Eugene Jarecki
Napalm, Claude Lanzmann
Demons in Paradise, Jude Ratman
Sea Sorrow, Vanessa Redgrave
An Inconvenient Sequel, Bonni Cohen, Jon Shenk

Midnight Screenings

The Villainess, Jung Byung-Gil
The Merciless, Byun Sung-Hyun
Prayer Before Dawn, Jean-Stephane Sauvaire

Virtual Reality Film

Carne y Arena, Alejandro G. Inarritu

70th Anniversary Events

Top of the Lake: China Girl, Jane Campion & Ariel Kleiman
24 Frames, Abbas Kiarostami
Twin Peaks, David Lynch
Come Swim, Kristen Stewart

link (http://www.festival-cannes.com/en/actualites/articles/the-2017-official-selection)

[Irish]

Good list. (I'm surprised at the number of names I recognize this year.)

Interested in:

- The Killing of a Sacred Deer, Yorgos Lanthimos
- The Day After, Hong Sangsoo
- Wonderstruck, Todd Haynes
- Happy End, Michael Haneke
- The Beguiled, Sofia Coppola
- Okja, Bong Joon-Ho
- The Meyerowitz Stories, Noah Baumbach
- Sea Sorrow, Vanessa Redgrave

Btw, how long has Cannes been showing TV? I mean, Twin Peaks? Top of the Lake? Seriously? I guess it's a nod to the times but it also feels somehow, I dunno, sad?

[Peng]

First time I think, but I mean, it's previous Palme d'Or winners Jane Campion and David Lynch (who hasn't had a film out in eleven years) in both cases. In future cases I can see only some long-established, Palme-related auteurs getting their TV in. They are not going to go Stranger Things any time soon, if ever.

Truly the year of Nicole Kidman, who after the great turn in that miniseries Big Little Lies will have four works in Cannes, including two in competition.

[Spinal]

Here is my very crude summary of the topics of the various competition films, based on limited online information:

Loveless, Andrei Zvyagintsev (divorce, domestic strife)
Good Time, Benny and Josh Safdie (crime, bank robbery)
You Were Never Really Here, Lynne Ramsay (sex trafficking)
L'Amant Double, Francois Ozon (erotic thriller)
A Gentle Creature, Sergei Loznitsa (prison system, justice)
The Killing of a Sacred Deer, Yorgos Lanthimos (sacrifice, evil teens)
Hikari (Radiance), Naomi Kawase (photography, visual impairment)
The Day After, Hong Sangsoo (???)
Le Redoutable, Michel Hazanavicius (Jean-Luc Godard)
Wonderstruck, Todd Haynes (tough childhoods, disability)
Happy End, Michael Haneke (refugee crisis)
The Beguiled, Sofia Coppola (Civil War, female sexuality)
120 Battements par Minute, Robin Campillo (AIDS, activism)
Okja, Bong Joon-Ho (action, monster)
Aus dem Nichts (In the Fade), Fatih Akin (prejudice)
Les Fantomes D’Ismael, Arnaud Desplechin (filmmaking, love)
The Meyerowitz Stories, Noah Baumbach (family, aging)

[Ivan Drago]

L'Amant Double, Francois Ozon (erotic thriller)

Nice. I'm going to try seeing his film Frantz this weekend since it's still near me.


The Killing of a Sacred Deer, Yorgos Lanthimos (sacrifice, evil teens)

Hell yes.


Le Redoutable, Michel Hazanavicius (Jean-Luc Godard)

Say WHAT? O__O

[Melville]

Loveless, Andrei Zvyagintsev (divorce, domestic strife)
The Killing of a Sacred Deer, Yorgos Lanthimos (sacrifice, evil teens)
I'm in.

[transmogrifier]

Ha, I saw that Hong Sang Soo was in competition, and I assumed it was for On the Beach at Night Alone, and I thought, wow, a Cannes film I've already seen.... Turns out he has three films coming out this year. Calm down, Hong.

[Russ]

Okja, Bong Joon-Ho (action, monster)

You had me at "crude".

[Peng]

Someone said almost all the Cannes lineup this year are under 2 hours long, which nice.

[baby doll]

Nice. I'm going to try seeing his film Frantz this weekend since it's still near me.I saw the first twenty minutes on a Cathay Pacific flight in January. It's basically Lubitsch's Broken Lullaby (aka The Man I Killed) directed by the Michael Haneke of The White Ribbon, which sounds like it should be awesome but somehow it's the height of insufferably tasteful middlebrow melodrama, almost a parody of what American rubes think European cinema is supposed to be. And I generally find Ozon's film's entertaining enough to be worthwhile.

As for the Cannes line-up, looking ahead to TIFF in September, I'll probably prioritize the Depardon, the Lanzmann, the Loznitsa, the Rasoulof, and as many of the 2017 Hongs as turn up there (the one in competition definitely will, the others probably not--Cameron Bailey won't stand for it), since they're not likely to get picked up for North American distribution. Maybe the Cantet, the Kurosawa, and the Zvyagintsev, as well, assuming I don't have to line up for them. The Baumbach, the Cameron Mitchell, the Coppola, the Desplechin, the Haneke, the Haynes, the Lanthimos, the Ramsay, and the Varda can wait for a general release.

The idea of Hazanavicius doing a documentary on Godard sounds almost too terrible to pass on (to paraphrase Manny Farber).

[Ezee E]

Inarritu's VR film is a short. But I'm curious.

[Irish]

http://i.imgur.com/9Anz4aC.jpg?1

Naturally, the American is completely overdressed

[number8]

I think the others are underdressed.

[Dukefrukem]

I'm a huuuuuuuuuuuge fan of the no tie, open shirt look.

[Peng]

864830751501680641

Pedro Almodovar and Will Smith clashing a bit over this. (http://www.indiewire.com/2017/05/cannes-2017-netflix-will-smith-pedro-almodovar-1201818275/)

[number8]

I mean, has the Palme d'Or ever considered Made-For-TV movies?

[Grouchy]

Doesn't really make sense. I agree with Pedro that films should be experienced in the cinema but that's how he's going to experience these particular two. It's unfair to hurt their chances because of the distribution method.

[Ezee E]

I think the others are underdressed.

I'd say they're horribly dressed. The first guy gets a pass.

[Henry Gale]

I'm definitely on the Cannes and Almodóvar side of it.

As much as I see the fact of Netflix as a huge positive for allowing things to get made that studios wouldn't otherwise put money or creative freedom into, I still think the biggest issue is that by giving something like the Palme d'Or to a Netflix film with the company's current "straight-to-streaming" model, any award is essentially just giving an advertisement to the world saying that people are confined to having to buy into a monthly subscription portal for them to watch it at all, instead of the usual theatrical-then-home cycle of letting people choose how they want to see or pay for a movie (assuming they do at all, which again on the flip-side, does potentially mean that more money is being given to Netflix than, say, piracy) keeping theatre and retail outlets in business in between.

Unlike Amazon films, Okja, the Baumbach one, Bright (the biggest stock Smith has in defending the service), and all the others on the horizon are set to never exist outside of paid streaming. I'm not sure any Netflix films have been released on Blu-ray, and I don't know if any of them have yet to be seen in more than a handful of theatres, usually just for the sake of awards-qualifying runs. Those are options that still have a practicality and quality to them that streaming still doesn't for many people.

Film festivals shouldn't just stand to exhibit a superior presentation of a film as an advertisement for a monthly subscription that'll doom it rarely exceeding a screen larger than 50 to 60 inches (and at its worst, people's phones on the go). Not to mention the majority of default TV settings are god-awful, but that's a totally different problem.

Again, just do what Amazon does. Release it properly in theatres, have it live there for a bit, release it on Blu-ray and DVD, and at the same time take exclusive streaming rights for the indefinite future. That's the business model that'll make sure we still have the theatrical window in a decade.

[Ezee E]

If Cannes selected it to competition, then it should be judged as so. Otherwise, why even have it there?

Cannes should just commit to not having Netflix films in competition, unless Netflix plans a theatrical release of some sort.

[Irish]

I'm definitely on the Cannes and Almodóvar side of it.

OTOH, a lot of the directors (and quite a few critics) live in major markets and are able, one way or another, to see every movie that is released (and some that aren't).

They're in a serious bubble. I'd like to see one of these fuckers spend a year in a backwater US state or some central province in France, where nothing plays outside blockbusters all year long. Then let's see em come back and talk about the magic of the theatrical experience and the dangers of Netflix.

To put it another way, this (https://twitter.com/GalsGotMoxie/status/865142476843122689).


Unlike Amazon films, Okja, the Baumbach one, Bright (the biggest stock Smith has in defending the service), and all the others on the horizon are set to never exist outside of paid streaming.

So your beef is that instead of 6 corporations controlling end to end distribution, 1 does?