Cannes: Looking Past the Hype and Hate (Analysis)

Cannes: Looking Past the Hype and Hate (Analysis)
Paul Thomas Anderson’s “Inherent Vice.” Terrence Malick’s “Knight of Cups.” Tim Burton’s “Big Eyes.” Hou Hsiao Hsien’s “The Assassin.” Clint Eastwood’s “Jersey Boys.” Woody Allen’s “Magic in the Moonlight.” Doug Liman’s “Edge of Tomorrow.” Stephen Frear’s untitled Lance Armstrong biopic. Thomas Vinterberg’s “Far From the Madding Crowd.” Alejandro Gonzalez Inarritu’s “Birdman.”

The list of films and filmmakers once rumored to be hot prospects for the Cannes Film Festival, only to be go unmentioned during this morning’s official selection announcement, is, as usual, a long and tantalizing one — so tantalizing, in fact, that some festgoers may find themselves surveying the actual lineup today with a mild sense of deflation, even disappointment. I’ll be the first to admit that those of us fortunate enough to attend film festivals on a regular basis can too often lapse into a posture of whiny,
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