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One of the most hotly anticipated films of Cannes this year was Gaspar Noé's "Love," It’s only the fourth feature in seventeen years from the enfant terrible behind “Irreversible” and “Enter The Void,” and insofar as it's a 3D drama revolving around unsimulated sex, the film had the potential to be his most controversial picture yet at its midnight bow on the Croisette. And yet, as with so many instances of "serious" filmmakers tackling matters below the belt, the effort proved to be less of a mind-blowing, all-night marathon, and more of an underwhelming, unsatisfying quickie behind some garbage bins. The new film by the director (who’s no stranger to for-real on-screen fucking, having featured such in various forms in both “Enter The Void” and his short in art-porn anthology “Destricted”) is in many ways a conventional romantic Bildungsroman, as American-in-Paris Murphy (Karl Glusman) gets a phone »
- Oliver Lyttelton
Trying to capture global trends in contemporary filmmaking by drawing thematic connections between films at the same festival has long been a hackneyed technique that little understands the variable pathways it takes for a film to get made and eventually programmed alongside another. Once one knows more of the tortuous route most filmmakers follow to finish their work and get it shown, the tendrils of affinity or dissonance snaking between theatres and screenings at a festival feel less like a glimpse of the zeitgeist and more the electric charge of coincidence—or fate.Such was the case in Cannes this year, where two films seemed to meet in a sensual, overlapping dream of flesh, caresses and orgasms. The first dream was formalist extremist Gaspar Noé's follow-up his untoppable Enter the Void (2009), a new provocation de jour: a 3D sex film. Or, to be more precise, a 3D relationship drama »
- Daniel Kasman
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, 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 (Miguel Gomes), Cemetery of »
Read More: Gaspar Noé on Shooting Sex in 'Love' and Why He Loves His Bad Reviews Four years after debuting his first feature film, "The Snowtown Murders," at the Cannes Film Festival, Australian director Justin Kurzel returned over the weekend to the event to premiere his follow-up, "Macbeth," in the main competition. His brutal and robustly acted Shakespeare adaptation marks a huge leap for the filmmaker, whose "Snowtown Murders" was a similarly violent but much smaller film starring a mostly unknown cast. "Macbeth," shot on location in Scotland, comes from mega-producer Harvey Weinstein and stars two of the biggest actors working in film today, Michael Fassbender and Marion Cotillard. Before its premiere on the Croisette, Indiewire sat down with Kurzel to find out why "Macbeth" appealed to him and what it was like to direct his incredible cast. From Cannes Critics' Week to the competing for the Palme d'Or is quite the. »
- Nigel M Smith
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
Read More: Cannes: Gaspar Noé Calls 3D 'Childish,' Wants 12-Year-Olds to See 'Love' Six years after shocking the Cannes Film Festival with "Enter the Void," French-Argentine director Gaspar Noé returned this week to the event to premiere his latest and most audacious effort, "Love." The 3D, sexually explicit love story has been generating buzz ever since it was announced as a late addition to the festival's midnight section, followed by the release of its graphic, Nsfw posters. The film delivers on that tease and then some by featuring the most hardcore onscreen sex ever to screen at Cannes (and lots of it; the film runs well over two hours). Indiewire caught up with Noé a few days after its premiere to discuss the project, why he shot in 3D, and what he makes of his critics. Anticipation was high going into the midnight screening, largely because of »
- Nigel M Smith
Ah, the Cannes Film Festival. It's by far the fanciest of the film festivals, with its ballgowns and no-flats-on-the-red-carpet policy. With such elegant standards, it's a bit surprising to hear that audiences at Cannes have actually booed movies. In fact, Cannes is a bit of a hotbed for controversy, and films get booed a lot. Gaspar Noe's sexually explicit 3D film, Love, is the latest to shock crowds, but it's definitely not the first. Take a look at the movies here that have been at the center of the most provocative controversies in Cannes history. »
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 »
★★★☆☆ Trailing poster-fuelled controversy and its French director's reputation as an arch provocateur, Gaspar Noé's Nsfw 3D erotica Love (2015) was the most midnight of midnight movies at Cannes this year. The film tells the tale of a love affair played out by the only two twentysomethings in the western hemisphere without tattoos. Electra (Aomi Muyock) is a Parisian artist, who's sometimes heavy-handed with the ol' recreationals. Murphy (Karl Glusman) is the American film student who pontificates unconvincingly about what Noé thinks about cinema and falls desperately for Electra. Despite his ardour, the boy is flesh and blood and so tends to stray and is undone by man's old foe - pregnancy.
- CineVue UK
In truly huge news for film fans, Cult Epics—the boutique label who brought Jörg Buttgereit’s Nekromantik films to U.S. blu—has announced an August Blu-ray and DVDate, as well as summer theatrical bookings for Gerald Kargl’s crucial, Austrian home invasion classic Angst. The 1983 film, often cited by Irreversible and Enter the Void‘s Gaspar Noé as a tremendous influence (he’s…
The post Crucial, Rare Home Invasion Film Angst Comes to Blu appeared first on Shock Till You Drop. »
- Samuel Zimmerman
The first 3D porn movie ever screened in official selection at the Cannes Film Festival has been sold to nearly 40 markets including Australia.
Gaspar Noé.s Love stars Karl Glusman as a young American reminiscing over an intense affair he had in Paris with Electra (Aomi Muyock). Her suggestion of a threesome with Omi (Klara Kristin) ultimately unravels their relationship.
.Its sexually explicit content, which might pose a problem in a handful of territories such as the Us, does not appeared to have deterred buyers,. Screen Daily drily reported.
.Even though one critic labelled Love the director.s tamest film, it hardly is that, considering the numerous, extremely graphic sex scenes in which nothing is left to the imagination,. Deadline.com.s Pete Hammond wrote. »
- Don Groves
It’s only his fourth feature film, but his eighth trip to Cannes, Gaspar Noé hasn’t let go of the short or long format. He first broke into the fest with the Directors’ Fortnight included Carne (1991), La Bouche de Jean-Pierre (short – 1996), Seul Contre Tous (short – 1998), Irreversible (2002), Sida (short – 2006), Enter the Void (2009), 7 Days in Havana (one of seven short films – 2012). If we only received a small sampling of critic grades for the 8:30 a.m. screening of Jacques Audiard’s Dheephan, it might have a lot to do with the conflict of interest and sleep deprivation associated to Noé’s Love 15 minutes past midnight screening. This year we made an exception in our Critics’ Panel, including this tantalizing 3D offering which our Nicholas Bell only reminds us that “Noé was already beaten to the punch by Michael Winterbottom with his film 9 Songs“. For many, this might be the filmmaker’s »
- Eric Lavallee
If you.ve ever watched a Gaspar Noe movie, you know the French filmmaker is not one to shy away from controversy, graphic material, or showing the nastiest, most explicit bits humanity has to offer. His latest movie, Love, which just premiered at the Cannes Film Festival, is not going to be the one that changes that. The film just released the latest in a series of incredibly graphic, sexually explicit posters. This one is Super Nsfw. We.re going to keep talking for a bit, just in case you change your mind and want to click away. So here.s your last chance. Make sure your boss can.t see you if you scroll down any further. While this poster is rather graphic, it.s honestly not that surprising when you consider it.s for a Gaspar Noe film. This is a guy who filmed maybe the most brutal »
Last night, Gaspar Noé's 3D opus "Love" unloaded at the Cannes Film Festival, and in case you were wondering, the film indeed make use of 3D to deliver a money shot straight into the camera (read our review). Noé's provocations continued today at a press conference, starting with his claim that while he actually doesn't care that much about 3D, having it helped secure financing. "There's something childish about 3D. It's like a game. It's hard to beat," Noé said, adding that it was only three weeks before shooting when it was confirmed he'd shoot in the format, a decision aided by the fact he'd able to get subsidies from the French government if he did. But the mere fact that he was able to make the explicit movie at all is something of a miracle, and Noé makes it clear that it only could've been made abroad (as »
- Kevin Jagernauth
Following on from his controversial "Irreversible" and "Enter the Void," filmmaker Gaspar Noe returned to the Cannes Film Festival this week with the sexually explicit ode to young romance and threesomes with "Love".
What makes "Love" unique is that along with being sexually explicit in a way so distinct to Noe, it has also been done in 3D. The first reviews are out and go into detail about what to expect in terms of the graphic nature of the film, though actual review reaction has sadly not been great.
The film centers around three people - young American film buff Murphy (Karl Glusman), brunette French artist and free spirit Electra (Aomi Muyock) with whom he has had a passionate romance, and his neighbour Omi (Klara Kristin) the blond woman he cheated with and got pregnant. The structure is carved up and jumps through different points in time over a two year span. »
- Garth Franklin
Today at Cannes, I had an argument with my roommate over the film we'd just seen. That in itself was nothing new, but the content of our conflict was a little different this time. "Jada," I asked her, "how many cum shots do you remember from that movie?"She thought about it for a second before venturing an answer: "Two." I was surprised. "There were at least three," I said. "Maybe even four. Let's count.""Okay. Well, there was the one from the opening scene. And the one where he shoots straight at the camera.""And then the other scene where he shoots straight at the camera.""Huh. You're right. I guess there were at least three." It was settled. Not only did Gaspar Noé's Love contain a minimum of three cum shots — three more than in any other film you've seen in a theater this year, I'd wager »
- Kyle Buchanan
Leave it to the Cannes Film Festival to try and raise a little controversy this year by presenting, as part of the official selection, the first 3D porn movie ever to play the festival. No wonder the crowds were so big early Thursday morning when Gaspar Noe’s Love premiered at the Grand Theatre Lumiere at 12:15 Am. And later, at the press screening today, every seat was taken a half-hour before start time. Apparently the Cannes crowd enjoyed the uh, coming attractions for… »
Read More: Cannes Review: Hardcore Sex Isn't the Craziest Thing About Gaspar Noé's 3D 'Love' After last night's dizzying, electric midnight premiere of the 3D laced-in-pornography "Love," Argentinean-French shock-director Gaspar Noé was light and direct at today's midday press conference, fending questions about sex, love and 3D. Accompanied by his actors, Karl Glusman, Aomi Muyock and Klara Kristin (the latter two actresses making their film debuts), and speaking mostly in French (with a few stray responses in English), Noé's answers focused on feelings, censorship, and feelings on censorship. Below are the top highlights from the discussion. Transgression (Or Lack Thereof) in "Love"Answering a journalist's question about transgression in "Love," Noé said, "I don't have the impression that there's any transgression in the film," and cited the precedents of Pasolini and Buñuel, remarking that »
- Diana Drumm
There's a reason why Alchemy picked up Gaspar Noé's sex opus "Love" ahead of its Cannes premiere. The film's explicit love scenes — and in 3D — have been the talk of the Croisette since the festival began. It finally premiered last night. The lines were long, the anticipation heightened by bad boy Noé's brain-bending "Enter the Void" and, of course, that low-angle tunnel rape suffered by Monica Bellucci in "Irreversible." In a sexy year for cinema, could this taboo-busting Frenchman knock everyone's 3D glasses off? Noé sported his last night. Thierry Frémaux welcomed him at the midnight screening, where lines wended around the block, and hundreds — even some press — were turned away. Despite all the film's 3D sucking and fucking and ejaculating, the consensus is that "Love" is the provocateur's most tame work to date, emotionally undercooked and even pompous given the fact that the on-the-nose »
- Anne Thompson and Ryan Lattanzio
Scorpio Becomes Electra: Noé’s Sex Scenes from a Marriage
The last time we were caught in provocateur Gaspar Noé’s crosshairs it was back in 2009 with Enter the Void, which ended on an orgasmic crescendo by literally fucking the audience. He’s back with more of that kind of sex stuff with Love, a memory poem as sexual odyssey/obsession told via the nostalgia of its tortured protagonist. Sexually explicit, but not necessarily distasteful, Noé is simply showing the general mechanics of people having sex. The rest of the narrative, seeking to explore the undoing of a passionate, youthful relationship, is nothing new as it explores the mundane inevitability of monogamy and how solving such an issue in a union based mostly on sexual attraction proves to be difficult. For those not titillated by a generous helping of spurting fluids and erect penises (including another vagina-cam shot), it’s »
- Nicholas Bell
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