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It was interesting to note the reaction, head bowed in a pained half-smile, of Japanese director Hirokazu Koreeda when hit with his first Cannes press conference question this year: “Is this an homage to Ozu?” or at least something to that extent. In fairness, it’s probably a question the man is sick of hearing at this point, but in the case of Our Little Sister it’s not quite as wayward or as ignorant as one might think. Indeed, Koreeda acknowledges as much in response: admitting to revisiting some of the master’s work in preparation for the project, or perhaps simply in preparation for such questions. And he’s right: there are similarities, and more than enough to provoke such a question. The opening shots alone of a sleepy suburban neighborhood, houses split by an unseen railway line whose heavy clients must shake these small abodes to their foundations, »
- Nicholas Page
Erich von Stroheim's Greed tops Jonathan Rosenbaum's list of "The Greatest American Films Ever Made." More lists: "25 Emerging North American Indie Directors You Need To Know" and "Experimental Film & Video @ Los Angeles (1958 - 2010)." Also today: Terrence Rafferty on "The Decline of the American Actor"; James Knight on Samuel Fuller's Forty Guns; Me and Earl and the Dying Girl, pro and con; interviews with John Akomfrah, Hirokazu Koreeda, Mia Hansen-Løve and Miroslav Slaboshpitsky; a big awards night for Sebastian Schipper's Victoria; Todd Solondz's sequel to Welcome to the Dollhouse with Greta Gerwig and Julie Delpy—and more. » - David Hudson »
Tokyo — “Love Live! The School Idol Movie,” a feature animation based on a multimedia project that encompasses a TV anime show, comic, music CDs and live concerts, opened at No. 1 in Japan for the June 13-14 weekend.
Bowing on just 121 screens, with Shochiku distributing, the film about teenaged girls who form an idol group to save their school from closing earned $3.42 million on 252,000 admissions. The film is expected to finish near the $20 million mark.
Debuting at No. 2 was “Our Little Sister,” Hirokazu Koreeda’s Cannes competition entry about four sisters who form an unusual household in the seaside town of Kamakura. Opening on 323 screens, the film took in $1.86 million from 182,000 admissions. With Gaga and Toho as co-distributors and a full-scale media blitz by Koreeda and his four stars, the film looks likely to pass the $10 million milestone.
Last week’s top-ranking films, led by No. 1 “Tomorrowland,” slipped down two places to occupy the Nos. »
- Mark Schilling
Exclusive: Competition trio among UK distributor’s haul.
Curzon Artificial Eye has rounded out its Cannes acquisitions with Competition entries Tale of Tales, Our Little Sister and Chronic as well as pre-buys of scripts from Palme d’Or-winning directors Cristian Mungiu and the Dardenne brothers.
Rights for all five films are for distribution in UK and Eire.
Matteo Garrone’s (Gomorrah) English-language debut Tale of Tales charts three of Giambattista Basile’s evocative Renaissance fairy tales with a cast including Salma Hayek, Vincent Cassel, Toby Jones and John C. Reilly. The deal was negotiated with HanWay.
- firstname.lastname@example.org (Andreas Wiseman)
Below you will find our favorite films of the Festival de Cannes, as well as an index of our coverage, with more entries, including interviews, to come. We also have an index of the festival's awards.Daniel Kasmantop Picksi. Cemetery of Splendour, The AssassinII. Visit or Memoirs and Confessions, In the Shadow of Women, The Exquisite Corpus, The Lobster, Mad Max: Fury Road, The TreasureIII. Arabian Nights, Journey to the Shore, Mountains May Depart***COVERAGEDay 1: Our Little Sister (Hirokazu Kore-eda), Tale of Tales (Matteo Garrone)Day 2: In the Shadow of Women (Philippe Garrel), One Floor Below (Radu Muntean), Son of Saul (Lazlo Nemes)Day 3: The Lobster (Yorgos Lanthimos), My Golden Days (Arnaud Desplechin)Day 4: Arabian Nights Volume 1: The Restless One, Carol (Todd Haynes)Day 5: Journey to the Shore (Kiyoshi Kurosawa), Louder Than Bombs (Joachim Trier)Day 6: Arabian Nights Volume Two: The Desolate One »
Read More: The 2015 Indiewire Cannes Bible The latest edition of the Cannes Film Festival has come to a close, but many of its highlights are already on track to reach more audiences. While not every festival favorite has the resources of, say, Cannes favorite "Mad Max: Fury Road," several other festival favorites were lucky enough to secure distribution. These include Palme d'Or winner "Dheepan," which was set up with IFC Films ahead of the festival, as was A24's Amy Winehouse documentary "Amy." Critical favorite "Son of Saul" found a supportive home at Sony Pictures Classics, which also snatched up Japanese director Hirokazu Kore-eda's gentle drama "Our Little Sister." IFC also bought the French thriller "Disorder." Even some of the more esoteric options landed future theatrical bookings: Thai director Apichatpong Weerasethakul's cryptic "Cemetery of Splendour" went to Strand Releasing, while newcomer Alchemy »
- Eric Kohn
Variety critics Scott Foundas, Justin Chang, Peter Debruge, Guy Lodge, Jay Weissberg and Maggie Lee weighed in with their choices for the 21 best films at this year’s Cannes Film Festival (listed in alphabetical order):
1. “Amy.” British director Asif Kapadia followed up his 2010 “Senna” with this even more daring and revealing portrait of the brilliant but tragic jazz diva Amy Winehouse. Drawing on a wealth of professional and user-generated video, Kapadia again eschews the usual talking-heads interview format to keep WInehouse front and center for two harrowing hours, during which we come to understand how thoroughly the troubled singer lived her life under the camera’s relentless and unforgiving gaze. The result is an unforgettable portrait of the cult of celebrity in the iPhone era. (Scott Foundas)
- Variety Staff
The Price of Salt is at a market high according to our critics. While Le Film Francais have Mia Madre in the pole position and Screen Daily have a pair in a tie among their voting clan, our sixteen strong have place Todd Haynes’ Carol firmly at the top of the leader board with average 3.8 grade. In a year where French cinema was a little off-balance, where Italy cinema didn’t disappoint, where Asian films were especially strong and where a first time work from Hungary stole the show, it is one portrait and one love story in 1950’s America that is tops.
In our inaugural year, our Cannes Critics’ Panel favored Pedro Almodóvar’s The Skin I Live In by one point over the Dardenne’s The Kid With a Bike, von Trier’s Melancholia, Nicolas Refn’s Drive and Malick’s Palme d’Or winning The Tree of Life. »
- Eric Lavallee
The biggest deals of this year’s Cannes Marché du Film and how the Competition titles sold throughout the festival.
Behind the glamour of this year’s Cannes Film Festival, business was booming at the Marché du Film (May 13-22), with representatives from 120 countries in attendance - up four on 2014.
A total 3,300 films were on offer this year, around 1,000 at the project stage, with an estimated 11,000 film professionals in attendance, in line with last year.
In the opening days, Marché chief Jérôme Paillard told Screen: “Acquisition agents are telling me that it’s the first time in a number of years that there are so many big projects. I’ve been told there are around 50 high profile projects on offer.”
North AmericaHOT Projects
Open Road paid »
Read More: The 2015 Indiewire Cannes Bible This year's Cannes Film Festival lineup may not represent every aspect of world cinema — the Official Selection is especially skimpy on Latin American titles — but at least one region receives fair representation: Asia surfaces with three movies in competition, one of which screened on the very first day, Hirokazu Kore-eda's "Our Little Sister." While the Japanese director's work fit with expectations of the perceptive low key dramas that Kore-eda typically churns out, there were far more specifically regional achievements to be found with entries from China and Taiwan, both of which ranked among the best this year's festival had to offer. Jia Zhangke's "Mountains May Depart," a decade-spanning look at a lower class Chinese family marred by misguided ambitions stretched across multiple generations, offers a more intimate look at modern Chinese anxieties than the director's previous work, the Cannes-winning "A Touch »
- Eric Kohn
The heads of Japan’s leading studios discussed their strategies for expanding into international markets at the close of Japan Day Project’s seminar programme on Monday.
Toho president Yoshishige Shimatani talked about how the company has set up a division to work on remakes of its content: “Sales of Japanese movies are small. We need new strategies and can’t just dub our movies into other languages and try to export them,” Shimatani said.
He also talked about working with Legendary Pictures on its Godzilla reboot: “Godzilla is like our Mickey Mouse. We handed it over to Legendary and they made a very good movie out of it.”
Kadokawa chairman Tsuguhiko Kadokawa explained how the company is setting up the Kadokawa Contents Academy in several Asian countries to offer courses for animation, manga and character design. “We want to use Japanese pop culture to produce quality content creators associated with local cultures,” Kadokawa said.
- email@example.com (Liz Shackleton)
“Louder Than Bombs,” Joachim Trier’s sensitively rendered family drama about the lingering aftermath of a mother’s untimely death, begins with a shot of a newborn’s hand clutching his daddy’s finger. It’s a perfect opening image for a film that largely concerns itself with the tensions that can arise between parents and children, particularly when each party is typically doomed to a partial understanding of the other at most. As it happens, it could also serve as one of the defining images for the 68th annual Cannes Film Festival (with apologies to Ingrid Bergman, whose regally disembodied head graces the poster for this year’s event), which has screened a number of pictures in which the price paid by neglectful, irresponsible or just plain ineffectual parenting turns out to be a steep one.
“They f— you up, your mom and dad,” Philip Larkin wrote, and some »
- Justin Chang
★★★☆☆ Japanese director and Cannes favourite Hirokazu Kore-eda enters the race for the Palme d'Or with Our Little Sister (Umimachi Diary, 2015), adapted from the Akimi Yoshida's manga. It tells the story of three grown women who live in their late grandmother's house and fend for themselves, as if a version of the family from Kore-eda's excellent Nobody Knows (which showed at Cannes in 2004) had somehow managed to make it into adulthood and self-sufficiency. Mother and father have divorced. Dad has another family now (they think) and mother is mainly absent, an intermittent but rare visitor. The sisters get along just fine without them, bickering and fighting and making up the way sisters do.
- CineVue UK
Read More: Indiewire's 2015 Cannes Bible The inexplicable inclusion of another Naomi Kawase film in Un Certain Regard has bewildered a great many film critics on the Croisette this year. Her previous feature, "Still the Water," played Cannes just one year ago, premiering to an array of abrasive pans. Some called it the very worst film of last year's festival, but it seems that Kawase's standing with the programming team seems remarkably forgiving and perplexingly stalwart. Her latest efforts, by all accounts a lesser offense but no greater a piece of cinema, is a light and fluffy exercise in sheer sentimentality, the director’s bid to make her version of a film in the style of fellow Cannes regular Hirokazu Kore-eda — minus the rigorous formalism, and plus a lot of schmaltz. The plot is as follows: Sentaro (Masatoshi Nagase), a middle-aged seller of dorayaki (a Japanese treat consisting of red bean paste, »
- Adam Cook
The links in our Cannes 2015 Index will take you to reviews and, when available, trailers, clips and interviews. Entries so far include Matteo Garrone's Tale of Tales, Hirokazu Kore-eda's Our Little Sister, Yorgos Lanthimos's The Lobster, Nanni Moretti's My Mother, Laszlo Nemes's Son of Saul, Gus Van Sant's The Sea of Trees, Radu Muntean's One Floor Below, Woody Allen's Irrational Man, Emmanuelle Bercot's Standing Tall, Asif Kapadia's Amy, George Miller's Mad Max: Fury Road, Philippe Garrel's In the Shadow of Women and Elie Wajeman's The Anarchists. » - David Hudson »
Down the couture-chain outdoor mall of the Croisette, the Directors' Fortnight opened with French intimist Philippe Garrel's In the Shadow of Women, of which Marie-Pierre has already written. It is one of a set of films by major filmmakers, the others being Arnaud Deplechin and Miguel Gomes, seemingly passed over by the Official Selection of the Festival de Cannes and promptly scooped up by the festival's unpredictable and often more rewarding younger brother. As if to underscore the difference between these two strands—in fact, separate festivals in the same city at the same time—the Fortnight preceded Garrel's new feature with an old short of his, a moving, on-the-ground actuality from the May '68 protests in Paris. Actua 1 is, in the director's words, a kind of "revenge on the news," that is, on the conservative newsreels seen in cinema's at the time. The prescience of the images, the danger they contain, »
- Daniel Kasman
Screen International’s legendary Cannes Palme D’Or jury swings back into action today, as the 68th festival gets into full swing and the first two films have played out at the Palais Des Festivals.
New jury members this year include Julien Gester and Didier Peron from French powerhouse daily Liberation; Il Messaggero’s Fabio Ferzetti in Italy; Australian critic Paul Byrnes from The Age/Sydney Morning Herald; and Thailand, where the Bangkok Post’s Kong Rithdee will weigh in with his daily verdicts.
Kore-eda wowed two critics with four palmes each, leaving most others »
- firstname.lastname@example.org (Fionnuala Halligan)
The race for the Palme d’Or officially begins today. It’s day 2 at the 2015 Cannes Film Festival which means the press core and as per usual, our Cannes Critics’ Panel are already in game mode. New this year to the our sweet sixteen group (you can follow them all on twitter) areMarc-André Lussier (La Presse), Jean-Philippe Guerand (Le Film Français), Aaron Hillis (the proprietor of Video Free Brooklyn who needs no introduction — penning for Filmmaker Magazine & Vice), and joining Ioncinema.com stalwarts Nicholas Bell and Blake Williams we find Yama Rahimi. Looks for grades on all nineteen Main Comp offerings plus as added bonus: Gaspar Noé’s Love.
The first film to uncork the ’15 edition is a filmmaker who is technically more synonymous with the Toronto Int. Film Festival than the French riviera. This nonetheless marks Hirokazu Kore-eda‘s fifth trip to Cannes with his last picture Like Father, »
- Eric Lavallee
Sony Pictures Classics usually comes to Cannes with future Oscar submissions in mind. Maybe that's the case for Japanese auteur Hirokazu Kore-eda's manga-inspired sibling drama "Our Little Sister," picked up by Spc despite mixed reception. It is the story of three sisters — Sachi, Yoshino and Chika — who live together in a large house in the city of Kamakura. When their father - absent from the family home for the last 15 years — dies, they travel to the countryside for his funeral, and meet their shy teenage half-sister. Bonding with the orphaned Suzu, they invite her to live with them. Suzu eagerly agrees, and a new life begins for the four siblings. Last year, Spc scooped foreign Oscar nominees "Wild Tales" and "Leviathan" out of the competition, as well as foreign Oscar snub "Saint Laurent." This year, the company brings Woody Allen's hot-buzz "Irrational Man" out-of-competition. Kore-eda's last film, moving 2013 competition. »
- Anne Thompson and Ryan Lattanzio
A preposterous and overly sentimental opener to this year’s Un Certain Regard serves up major disappointment
The consistency and seriousness of film-making as practised by Japanese director Naomi Kawase has always been respected in Cannes, where her work is often featured in Competition. This year her latest film, An, has been selected to open the Un Certain Regard sidebar, and it is arguably a more intimate piece, virtually a two-hander, with less obvious ambition and sweep. Despite some touching moments, and earnest performances, I must confess to feeling exasperated by the sentimentality and stereotype being served up. The film has an impeccable technical finish, but it is insipid, contrived, solemn, and ever so slightly preposterous.
Continue reading »
- Peter Bradshaw
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