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A furious slew of titles in the works would seem to prophesize a robust main competition slate for Cannes 2016. Though our initial list will eventually be pruned down as the year progresses (Berlin may snag something in here, especially if their 2016 lineup looks anything like their landmark selection from this past January), we’re confident that we will be seeing another round of heavy hitting auteurs unveiling their latest bits on the Croisette.
Absent from the main competition in 2015 were the Romanians (Muntean and Porumboiu were assigned to Un Certain Regard) and any trace of Latin filmmakers. The 2016 edition looks to make up for lost ground. For the Romanians, a couple heavy hitting titans from the New Wave will be ready. Cristi Puiu, who previously won Ucr in 2005 with The Death of Mr. Lazarescu should hopefully be getting a competition invite for Sierra Nevada. Meanwhile, previous Palme d’Or winner »
- Nicholas Bell
Way back in 2009 at The New York Film Festival, a drool worthy conversation took place between Michael Haneke (who was doing the rounds for "The White Ribbon") and Darren Aronofsky at Lincoln Center. If you weren't there, well, you missed it. Thankfully, the Film Society Of Lincoln Center has gone into the archives to dig up the talk and put it online, and needless to say, this is a must listen for any cinephile. Haneke is in the hot seat for the discussion and fields questions while Aronofsky and others probe the director about "The White Ribbon," in which a series of eerie calamities beset a small German village in the lead up to World War I. Haneke explains why he chose to keep many of the events in the film enigmatic. Read More: Michael Haneke Drops 'Flashmob,' Working On New Film Set In France “I try to construct »
- Kevin Jagernauth
The venerable Karlovy Vary Intl. Film Festival may be turning 50, but the thrust of its program remains fresh and tuned to emerging talent. A new strand this year, sponsored by European Film Promotion (Efp), introduces directors that come from the cohort of the fest’s mostly college-age audience. Future Frames: Ten New Filmmakers to Follow brings short works by students and recent graduates of European film schools into the festival’s largely feature-length film mix. Filmmakers were nominated by their respective country’s Efp bodies.
Says Czech filmmaker Ondrej Hudecek of the initiative, “I think it’s always conducive and extremely valuable to meet fellow filmmakers and industry professionals, who are dealing with the same issues of how to make the transition from shorts to features and talk about the perspectives and possibilities we have, as well as about our films and approaches to filmmaking.”
Karlovy Vary runs July 3- »
- Alissa Simon
Back when Greek auteur Yorgos Lanthimos first clambered barefaced upon the international stage with his daring Dogtooth, quite a few hastened to mention its striking resemblance to Arturo Ripstein’s similarly self-contained The Castle of Purity, made some 35 years earlier. In the wake of his first English-language effort The Lobster, one might even go further and compare all that Lanthimos has done thus far to Ripstein’s film: the imposed isolation behind walls that are both physical and psychological, creating a world whose structure is founded upon seemingly intransgressible rules and boundaries. Despite the jump in locale and language, The Lobster is very much a continuation or extension of the themes found in Dogtooth: the sequestered family abode is replaced by an isolated hotel complex; the overprotective father by a domineering hotel manager – the brilliant Olivia Colman. Perhaps the most significant difference, at least on first glance, is that »
- Nicholas Page
Unless you’re talking about Paul Feig’s Ghostbusters or Toy Story 3, it’s usually not a good sign to hear of a sequel to a long retired franchise, least of all from a new, upstart director (just ask Jurassic World). This week however a director started a project that might even be an improvement on the original.
Deadline exclusively reported Joe Carnahan’s (The Grey) possible involvement in Bad Boys 3. David Guggenheim (Safe House) penned a screenplay for the sequel to Michael Bay’s 1995 and 2003 films, and the studio is hoping to move negotiations along quickly, as they plan to approach both Will Smith and Martin Lawrence to return.
We talked recently about Brad Pitt‘s involvement on a new project just bought by Netflix, but their top competitor Amazon has signed another major name: Terry Gilliam. Indiewire spoke with the cult director and Monty Python alum, »
- Brian Welk
Following up his Palme d’Or winner Amour, it was thought that Michael Haneke was hard at work on Flashmob, even courting a major actress to lead, but it looks like that project is no more. “I had a project under preparation but I abandoned it for several reasons which I will not discuss,” he recently told Le Parisien (via The Guardian). […] »
- Leonard Pearce
In today's roundup of news and views: A new short from Laura Poitras, a profile of Nick Zedd, an excerpt from Jeff Lipsky's forthcoming memoir, a mid-90s interview with Peter Greenaway, an examination of the connections between Nicolas Roeg’s Don’t Look Now and Robert Wyatt's classic album Rock Bottom, Jonathan Rosenbaum on paintings by Manny Farber, an appreciation of Montgomery Clift, Josh Safdie and Alex Ross Perry on Entourage, interviews with Alejandro Jodorowsky and Roy Andersson, rumors of forthcoming films by Paul Thomas Anderson and Michael Haneke—and more. » - David Hudson »
Given that flashmobs, by nature of what they are, are designed to surprise, perhaps the unexpected news of writer/director Michael Haneke dropping his long-developed Flashmob is only fitting. The one-time theatrical follow-up to his Best Picture-nominated Amour may be dead, but that doesn't mean the 73-year-old filmmaker isn't cooking up something to replace it. In an interview with Le Parisien, via The Playlist, Haneke revealed he dropped his proposed new movie, about a group of characters who connect through the Internet and an ending event, but he's now researching a France-set movie as a replacement project. Nothing else about this new movie is known. In fact, he even refused to say why he is no longer making his previously-stated next project. But that's not shocking. Haneke isn't really the talkative type, especially on his own projects. As of last year, Flashmob was expected to begin production during the summer, »
- Will Ashton
Michael Haneke’s next film will no longer be his previously announced project about disparate online characters brought together
When Flashmob was announced, it seemed like an eccentric idea for Michael Haneke to take on. A drama about a group of online characters brought together by a flashmob wasn’t what you’d expect from the director of The White Ribbon and Amour.
Related: Not coming soon: the films still stuck in purgatory
Continue reading »
- Benjamin Lee
The last we heard about Michael Haneke's long-developing "Flashmob," he was waiting for an unnamed actress' schedule to clear up so he could make his movie about a group of characters who connect through the internet and are brought together by the titular event at the end, with the movie thematically exploring the relationship between media and reality. But whether his patience is up, his interest has waned, or whatever other reason, Haneke is moving on. Le Parisien reports that Haneke has dropped "Flashmob," with the director revealing he has been researching his next movie that will take place in France. Of course, what it's about, when it might shoot, or other such details haven't been disclosed, with the filmmaker even refusing to discuss why he's decided not to make "Flashmob." Read More: Watch: Trailer For Michael Haneke's 'Star Wars: Episode 7' Haneke tends to work a regular clip, »
- Kevin Jagernauth
Peter Debruge: Well, I didn’t see that coming. In what feels like a twist ending — one that leaves me feeling a bit like Tim Roth at the end of “Chronic” — the Cannes jury has awarded the Palme d’Or to “Dheepan,” a movie that lags among my least favorites in the competition, and the weakest in Jacques Audiard’s filmography.
People have been throwing the word “weak” around a lot this week, grousing that the official selection doesn’t measure up to that of previous years. I defer to you, Scott and Justin, since you’ve each been attending Cannes for longer than I have (this is only my fifth time on the Croisette), but if there’s one thing I’ve learned in my time here, it’s that Cannes critics always like to complain that the present year’s crop feels meager by comparison to past editions, »
- Peter Debruge, Scott Foundas and Justin Chang
The Cannes Film Festival often yields year-end awards contenders, from eventual Best Actor-winner Roberto Begnini ("Life is Beautiful") and "The Piano" and "The Pianist" to Michael Haneke's "Amour" and Best Picture-winner "The Artist." Last year's "Foxcatcher" wound up grabbing a few nods, more than Mike Leigh's "Mr. Turner," and the festival introduced several foreign film contenders, while "Clouds of Sils Maria," which didn't opened stateside until 2015, could provide a Supporting Actress shot for well-reviewed Kristen Stewart. So what of this year's crop of awards hopefuls? Weinstein Co. has a full slate this year: "Carol." This is a strong contender on many fronts. Most likely are its two leads. Rooney Mara shared the Cannes Best Actress jury award, which will help her going forward and lends support for a Best Actress slot along with Cate Blanchett. Mara was nominated once »
- Anne Thompson
Winners were announced on Sunday for the 68th annual Cannes Film Festival, and the top prize, the coveted Palme d'Or, went to Jacques Audiard's French film "Dheepan." This is the first time Audiard has won the award following three unsuccessful attempts ("A Self-Made Hero" in 1996, "A Prophet" in 2009 and "Rust and Bone" in 2012), though he did previously win a screenwriting award for "Self-Made Hero" and the Grand Prix for "A Prophet." -Break- His last two entries lost to films by Michael Haneke – "The White Ribbon" in 2009 and "Amour" in 2012 – so in his speech, Audiard thanked Haneke "for not making a film this year." Oscars next for Cannes winners Rooney Mara, Emmanuelle Bercot and Vincent Lindon? This year, Oscar-winning directors Joel and Ethan Coen presided over the jury, which also included international actors Rossy de »
Read More: Here Are Some of the Best New American Short Films The Cinéfondation and Short Films Jury, headed by Abderrahmane Sissako and including Cécile de France, Joana Hadjithomas, Daniel Olbrychski and Rebecca Zlotowski, has awarded the 2015 Cinéfondation Prizes during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films. The winner of the top prize, "Share," was one of our picks for the best new American short films earlier this month when we saw it at the Maryland Film Festival. We noted that "Share" had "long, engrossing takes on par with the Dardenne brothers and a voyeuristic quality reminiscent of Michael Haneke" and that it "portrays the distinctly modern fear of digital processes beyond our control — and yet, at the same time, with the potential to become dangerously personal." First Prize: "Share" Directed by Pippa Bianco AFI’s Directing Workshop for Women, »
- Casey Cipriani
The smallest and subtlest film in the main competition at Cannes this year, Mexican director Michel Franco’s “Chronic” offers a measured portrait of a hospice nurse (played by Tim Roth) who tends to terminally ill patients, respectfully observing his difficult and emotionally draining job while bluntly asking the question: Who cares for the caregiver? Echoing Michael Haneke’s “Amour” in key aspects of style and theme without achieving nearly the devastating impact of that Palme d’Or winner, Franco shifts the emotional center of his film away from the bond between a dying woman and her closest loved one, zeroing in on the uncomfortable truth that, in many cases, the people who connect most closely to such patients in their final days are not immediate family members, but their nurses. Needless to say, the subject is anti-commercial in the extreme, and the approach even more so, relegating this sensitive portrait primarily to festivals. »
- Peter Debruge
At his highly-anticipated talk for the Kering Women In Motion series at the Majestic Hotel, Cannes festival director Thierry Fremaux kicked off proceedings with the statement, “This debate makes me furious.”
He then spent much of his talk bopping back and forth between his view that Cannes gets unfairly criticised for the lack of female filmmakers in the programme, while festivals such as Berlin and Venice avoided such reproach, while also claiming to welcome the discussion that has been sparked around the issue of female inequality.
“Yes, there are discriminations, but these issues are widespread across other cultural industries around the world,” said a disgruntled Fremaux.
“People attack us with extreme aggression, but if there is one place where female directors are welcome, it’s here in Cannes.”
Fremaux cited several factors to support his argument that Cannes supports women, including the fact that juries are, in large part, evenly split between »
Indie distributor Alchemy has just scooped up Cannes perennial Nanni Moretti's "Mia Madre" out of the competition. This semi-autobiographical seriocomedy centers on a director (Margherita Buy) who's shooting an Italian film with an unruly and famous American actor (John Turturro). Meanwhile, she's trying to keep her own life together, despite her mother's (Giulia Lazzarini) illness and daughter's (Beatrice Mancini) budding adolescence. Moretti, who also stars in the film and won the 2001 Palme d'Or for "The Son's Room," co-penned the script with Francesco Piccolo and Valia Santella. In 2012, he served as the Cannes jury president when Michael Haneke's "Amour" took the Palme. Read More: Indiewire's Cannes Review of "Mia Madre" Moretti produced "Mia Madre" through his Sacher Film banner along with Domenico Procacci of Fandango and Rai Cinema. While no release date has been set, the film has so far met acclaim and interest »
- Ryan Lattanzio
This week Neil Calloway looks at what winning the Palme d’Or can do to your box office…
So we are in the middle of the Cannes Film Festival, and it’s easy to dismiss it as a two-week publicity vehicle for beautiful actresses to get photographed next to middle-aged European film directors on the Croisette, or a time for oligarchs and their trophy wives to entertain fading Hollywood stars on their super yachts. However, the importance of the festival to the film industry cannot be understated.
Cannes is the biggest film industry event of the year; the Oscars comes close but that only lasts one night. It is, in fact, one of the biggest annual events of any kind. As William Goldman points out in Hype and Glory, his entertaining memoir of sitting on the juries for both Cannes and the Miss America Pageant, the World Cup and Olympics are bigger, »
- Neil Calloway
In the 35 years since “Ordinary People,” American cinema has told and retold stories of how a death in the family can reveal the dysfunction no one wanted to admit was there. “Louder Than Bombs” is just such a picture, studying how a widower and his two sons cope with learning the “circumstances” of the accident that killed his war-photographer wife, but it also manages to be the opposite of nearly every other film in the genre. Directed by Joachim Trier, who’s certainly gifted enough to have turned in a passive-viewing tearjerker, “Bombs” asks audiences to bring their brains, eschewing grand catharsis in favor of subtle psychological nuance, resulting in a film that runs both slender and cold on the surface, but rewards the arthouse audiences willing to give it a deeper reading.
Ever since Trier’s 2006 feature debut, “Reprise” (which landed him on Variety’s “10 Directors to Watch” list »
- Peter Debruge
The eagerly awaited Official Selection for this year's 68th Cannes Film Festival (13-24 May) was announced in Paris this morning. As previously revealed, celebrated sibling filmmakers and Cannes regulars Joel and Ethan Cohen will preside over the jury this time around. Emmanuelle Bercot will become the first female director to open the festival in 28 years with her comedy-drama La Tête Haute (Head Held High), starring Catherine Deneuve and Rod Paradot. Meanwhile, highlights of this year's Palme d'Or race include new films from Jacques Audiard, Matteo Garrone, Todd Haynes, Jia Zhangke, Paolo Sorrentino, Gus Van Sant and Denis Villeneuve. Directors whose latest films appear to have missed out this year include Terence Davies, Michael Haneke and Ben Wheatley.
- CineVue UK
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