1-20 of 24 items from 2011 « Prev | Next »
Written and directed by Urszula Antoniak (Code Blue), the movie focuses on Anne (Verbeek), an enigmatic beauty who drifts from town to town as she hitches rides across the Irish countryside. One day, she comes across an isolated cabin and strikes up an uneasy relationship with its owner (Rea). Haunted by their pasts, each has something to offer the other – he, the solace of his cabin; she, the embrace of female companionship.
A festival favorite across Europe, the Dutch/Irish co-production picked up six awards at the prestigious San Locarno Film Festival, including Best First Film and Best Actress. The film subsequently received a well-reviewed, limited release in theaters in the U.S.
No bonus features have been announced for the DVD. »
Updated through 5/28.
The titles below will take you to the roundups, that is, the coverage of the coverage of each film screening in the 2011 edition of the Cannes Film Festival. Click the names after the titles for our own reviews, whether they be quick takes or longer considerations. And finally, pointers to assessments of this year's edition, made both before and after the awards are announced, will collect at the bottom of this page.
Pedro Almodóvar's The Skin I Live In.
Bertrand Bonello's House of Tolerance. Daniel Kasman.
Nuri Bilge Ceylan's Once Upon a Time in Anatolia.
Jean-Pierre and Luc Dardenne's The Kid with a Bike. Daniel Kasman.
Naomi Kawase's Hanezu.
Maïwenn's Poliss. Daniel Kasman.
"Code Blue is the film to which I have had the strongest negative reaction of any film I've seen at the festival so far," blogs Barbara Scharres for the Chicago Sun-Times, "but I wasn't alone in that. There were walkouts throughout, but about ten minutes from the end, a large part of the audience simply decided that they'd had enough and started streaming out. I've never seen anything to match it at Cannes. So many people were leaving that the guards had to prop open the exit doors although the film wasn't over…. I ponder what life experience, if any, this film came out of."
"An oddly translated notice posted outside Cannes Directors' Fortnight screenings of Code Blue warns that the film may 'hurt audience's feelings.'" David Rooney in the Hollywood Reporter: "But while the final scenes erupt into explicit sex and ugly violence (or ugly sex and explicit »
Film people (this writer included) tend to be jaded and bitter, always ready to scoff at teenagers who can’t wait to see the next Twilight or are counting the days to the new Batman movie. Yet, film catnip such as a new Terrence Malick makes even the most serious filmgoer wait and gasp at the sight of a ticket for The Tree of Life. That’s why it was very shocking to hear the booing at the press screening, among, yes, a few applauses and mostly baffled silence. It was going to be impossible to survive such hype to any movie, let alone one with such flaws as the fifth film in 40 years directed by the maestro.
Yes, it is one of the most stunning achievements in image and sound in the medium’s history; unfortunately it is so ambitious and almost every frame is loaded with such heavy symbolism, »
- Ed Lucatero
The film that cautioned audiences it may hurt their feelings did exactly that, the visceral finale of Urszula Antoniak's Code Blue sending members of the debut audience scurrying for the exits in droves as the final burst of violence and degradation played out on screen. The reaction was clearly expected, at least to a degree, the big question is why some chose to exit early. Were they offended by the film's graphic use of hot-button issues - euthanasia, rape and suicide all factor in - or, equally possible, had they simply reached their limit for what is surely one of the bleakest portrayals of human need ever put on screen?Bien de Moor is Marian, a woman on the far side of middle age living »
Regardless what larger themes or shifting styles that are discovered or get attached to this year's Cannes batch, one of the major conversation starters is the prominence of global female filmmakers at the festival. There are 22 feature films by female directors (and I'm not even including the short films) which should be a record for any festival in recent memory. We have renowned auteurs Naomi Kawase and Lynne Ramsay to actress-turned-directors, Jodie Foster, Maiwenn, Nadine Labaki, Eva Ionesco, Hagar Ben Asher. Among the 22, with have a dozen or so from first time filmmakers including Julia Leigh (see below) whose first film is in the official competition and comes with the blessing from fellow Australian and Palme d'Or winner Jane Campion. See the 22 names below. The Official Competition Naomi Kawase, Hanezu No Tsuki Julia Leigh, Sleeping Beauty Maiwenn, Polisse Lynne Ramsay, We Need to Talk about Kevin Out of Competition Jodie Foster, »
A trailer has been released for Code Blue, the second film by director Urszula Antoniak (Nothing Personal). The film was selected for the Cannes Film Festival as part of the Director’s Fortnight section. Urszula Antoniak’s first film, Nothing Personal, won prizes at the Locarno and Seville film festivals and won four Golden Calf prizes during the Netherlands Film Festival in 2009.
Here is how the programmers from Cannes describe the film:
Marian, a middle aged nurse, devotes herself to her patients like a saint. Sometimes she even takes on the role of a redeemer, by helping the gravely ill to the soothing order of ultimate silence. When she gets linked to a neighbor in an act of common voyeurism, she becomes fascinated by him. »
Honestly, I'm not even sure what to call Urszula Antoniak's Code Blue. Is it a twisted drama? Some sort of arthouse thriller? It's that sort of refusal to play by any sort of clear genre rules that makes the freshly released trailer so compelling and compelling is absolutely the right word. Here's how the programmers at the Director's Fortnight describe it:Marian, a middle aged nurse, devotes herself to her patients like a saint. Sometimes she even takes on the role of a redeemer, by helping the gravely ill to the soothing order of ultimate silence. When she gets linked to a neighbor in an act of common voyeurism, she becomes fascinated by him. Faced with the fragility of these newfound emotions, Marian surrenders to »
Updated through 5/9.
Along with the trailer for Hong Sang-soo's The Day He Arrives, another's just appeared for Kim Ki-duk's Arirang. Both will be screening in Un Certain Regard and, if you're checking the entry rounding up all the current news on the lineup of the Official Selection, you'll see, first, that it's being continuously updated (as are the entries on Critics' Week and Directors' Fortnight), and second, another trailer: the one for Na Hong-jin's Yellow Sea. And of course, you've seen the trailers for Terrence Malick's The Tree of Life and Lars von Trier's Melancholia. Let's have a look at a few more.
And here's another and another.
Jean-Pierre and Luc Dardenne's The Kid with a Bike:
Update, 5/9: The Playlist has two clips.
Julie Leigh's Sleeping Beauty:
Here are the films directed by women from the 2011 Cannes Directors Fortnight. Out of a total of 21 films, seven are directed by women. That's 33%. Not too shabby. (Descriptions from IndieWIRE) The films: “Code Blue,” Urszula Antoniak, Netherlands, Denmark - 1h21 (2011) Marian, a middle aged nurse, devotes herself to her patients like a saint. Sometimes she even takes on the role of a redeemer, by helping the gravely ill to the soothing order of ultimate silence. When she gets linked to a neighbor in an act of common voyeurism, she becomes fascinated by him. Faced with the… »
Dominique Abel, Fiona Gordon and Bruno Romy's La Fee (The Fairy) will open this year's Directors' Fortnight on May 12 and Bouli Lanners's Les Géants (The Giants) will close it on May 22. Here's how the full lineup of 25 films pans out.
The Fairy. From MK2: "Dom works the night shift in a small hotel near the industrial sea port of Le Havre. One night, a woman arrives with no luggage and no shoes. Her name is Fiona. She tells Dom she is a fairy and grants him three wishes. Fiona makes two wishes come true, then mysteriously disappears. Dom, who by then has fallen in love with Fiona searches for her everywhere and eventually finds her. In the psychiatric hospital where she has been interned. The filmmakers behind the critically acclaimed Iceberg and Rumba are back to enchant the world."
Karim Ainouz's O abismo prateado.
The final Cannes sidebar of new feature films to unveil its lineup, the Directors' Fortnight (Quinzaine des Réalisateurs), announced 25 features this morning - 21 competing, and 4 special screenings. This year's edition is especially heavy on European films, which take up a whopping 17 of the 21 competing slots. Just like the Critic's Week selection, we've got a majority of debut films and films by little known directors, but also a handful of names that most cinephiles will already be familiar with. This is, of course, part of the pleasure of discovery in these sections: the ability to be taken completely by surprise (ie. last year's Two Gates of Sleep and Le Quattro Volte) that you don't get with finding a masterpiece in the Competition. The Fortnight runs parallel with the Official Competition, opening on May 12th and ending on the 21st. Looking at the lineup, there are a number of names that we saw coming, »
The lineup for the Cannes film festival has been finalized with the announcement of the Directors’ Fortnight lineup, which includes Guilty of Romance by one of my personal favourite directors, Sion Sono. The Directors’ Fortnight is an independent section held in parallel to the Cannes Film Festival. The section was created in 1969 after the events of May 1968, in which the Cannes festival was canceled in solidarity with striking workers.
The Directors’ Fortnight showcases a programme of shorts and feature films as well as documentaries from all over the world.
Here’s the complete list of titles:
Directors’ Fortnight Lineup
“Apres le sud,” France, Jean-Jacques Jauffret
“Blue Bird,” Belgium, Gust Van den Berghe
“Breathing,” Austria, Karl Markovics
“Corpo celeste,” Italy-Switzerland-France, Alice Rohrwacher
“End of Silence,” France-Austria, Roland Edzard
“Les Geants,” Belgium-France-Luxembourg, Bouli Lanners (closing film)
We got the first round of Cannes Film Festival line-up last week, then the Critics’ Week contenders yesterday. Today, the line-up for Director’s Fortnight and Short Film competition has been released. Check out the line-ups below via Deadline and Twitch. Twitch also provides images for Irish director Rebecca Daly‘s debut in the Director’s Fortnight film The Other Side Of Sleep.
It’s worth noting that jury president Michel Gondry will award the Short Film Palme d’Or on the last day of the fest, May 22nd. Bright Star director Jane Campion and Lynne Ramsay, who directed this year’s competition title We Need To Talk About Kevin, both got their start in this competition. Check out the line-ups below and come back for our coverage straight from the fest.
Completing the list of the Official Selection of the 64th Festival de Cannes, and composed this »
- Jordan Raup
An Indo-France co-production, Chhatrak (Mushrooms) directed by Sri Lankan filmmaker Vimukthi Jayasundara is a part of the official lineup of Cannes Directors Fortnight.
Co-produced by Bappaditya Bandopadhyay from India, Mushrooms is Vimukthi Jayasundara’s third feature film. His debut film The Forsaken Land had won the Camera d’Or for best debut feature at Cannes in 2005.
The complete lineup for Directors Fortnight includes 25 films out of which 6 are first films making them eligible to compete for Camera d’Or.
Directors’ Fortnight Lineup
Apres le sud, France, Jean-Jacques Jauffret
Blue Bird, Belgium, Gust Van den Berghe
Breathing, Austria, Karl Markovics
Corpo celeste, Italy-Switzerland-France, Alice Rohrwacher
End of Silence, France-Austria, Roland Edzard
Les Geants, Belgium-France-Luxembourg, Bouli Lanners (closing film)
Impardonnables, France, Andre Techine
Iris in Bloom, France, Valerie Mrejen
Joan Captive, »
Programme includes veteran film-maker André Téchiné, plus 14 female directors – but English-language cinema is sidelined
The lineup for the Cannes film festival has been finalised with the announcement of the Directors' Fortnight and Critics' Week programmes. The two strands operate independently of the Palme d'Or competition that was announced last week.
Few of the selected film-makers look likely to excite the paparazzi on the Cannes red carpet. The best known name in the Directors' Fortnight selection is probably veteran French film-maker André Téchiné with an adaptation of Philippe Djian's novel Impardonnables, about a writer whose daughter disappears, while the Critics' Week finds room for new films by Shotgun Stories director Jeff Nichols and Jonathan Caouette, maker of Tarnation.
One title that seems likely to spark controversy, however, is the Critics' Week selection Hanotenet (aka The Slut), directed by and starring Israeli Hagar Ben Asher, about a woman compulsively seeking sexual gratification. »
- Andrew Pulver
The complete lineup for the Director's Fortnight lineup at Cannes 2011 has been announced and joining Sion Sono's Guilty of Romance are films about a sleepwalking woman hunting down her mother's killer and a wheelchair bound man who hijacks a plane using a pair of hand grenades tucked into his adult diaper.Typically the edgier of the Cannes sidebar programs the Fortnight this year is dominated by French and Belgian titles with Sono's title being one of only three Asian selections.Here's the complete list of titles: Directors' Fortnight Lineup "Apres le sud," France, Jean-Jacques Jauffret "Blue Bird," Belgium, Gust Van den Berghe "Breathing," Austria, Karl Markovics "Code Blue," Netherlands-Denmark, Urszula Antoniak "Corpo celeste," Italy-Switzerland-France, Alice Rohrwacher "End of Silence," France-Austria, Roland Edzard "La Fee," Belgium-France, »
Linda Cardellini plays a soldier who returns home from a tour of duty and has trouble adjusting in artist-turned-director Liza Johnson’s debut feature Return. John Slattery and Michael Shannon co-star. Return is the only U.S. movie selected to play in the prestigious Cannes sidebar Directors' Fortnight, announced this morning in Paris. Johnson is one of several female directors injecting a dose of estrogen into this year’s 25-film lineup. Other women directors include Ireland's Rebecca Daly, whose first film The Other Side of Sleep tells the story of a sleepwalker in a rural town searching for her mother’s killer; Polish filmmaker Urszula Antoniak (Code Blue); Canada’s Isabelle Lavigne and Stephane Thibault (At Night They Dance); and Morocco’s Leila Kilani (Sur La Planche). Directors’ Fortnight runs May 12-22. The lineup: -- Apres le sud (France) - Jean-Jacques Jauffret -- Blue Bird (Belgium) - Gust Van den Berghe »
- TIM ADLER in London
We're about 36 hours away from Cannes Film Festival's big unveiling of the 2011 line-up and while the Main Comp should bare very little surprises (see the math below), the one title whose status is still a mystery and could break into the 20 or so titles is Carlos Reygadas' Post Tenebras Lux. Literally translated as "Light After Darkness", Reygadas' semi-autobiographical feature was filmed in cities where the helmer has spent portions of his life: Mexico, England, Spain and Belgium. What this amount to be is the type of film that no pre-festival synopsis will do it justice. If included, I can't wait for that 8:00 in the morning press screening. Earlier this week, Variety threw in Naomi Kawase's name into the mix. Titled Hanezu no Tsuki, her film is set in the Asuka period which was known for its significant artistic, social, and political transformations - we're talking only 500 years A. »
The Palais des Festivals, which is where I watched all of the press screenings
It seems there have been a lot of articles speculating as to which films will be showing at the 2011 Cannes Film Festival this year, each of them pretty much naming the same films. However, the only film confirmed is Woody Allen's Midnight in Paris which will open the fest. The rest is simply speculation and rumor, but now the most comprehensive and seemingly "in the know" list has surfaced.
Of the films currently expected to hit the Croisette, but obviously in no way confirmed yet seem to be among the most likely, are Terrence Malick's The Tree of Life, Pedro Almodovar's The Skin I Live In, Gus Van Sant's Restless and Lars von Trier's Melancholia.
Of course, those are the big name features. The films that draw the »
- Brad Brevet
1-20 of 24 items from 2011 « Prev | Next »
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners