18 items from 2017
Palme d'Or winner 'The Square' with Claes Bang: 'Gobsmackingly weird' Cannes Film Festival favorite may have a tough time landing a Best Foreign Language Film Academy Award nomination. Ruben Östlund's comedy-drama is totally unrelated to Jehane Noujaim's 2013 Oscar-nominated political documentary of the same title, which refers to downtown Cairo's Tahrir Square. Cannes' Palme d'Or winner 'The Square' & other Official Competition favorites' Oscar chances Screenwriter-director Ruben Östlund's The Square was the Palme d'Or winner at the 2017 Cannes Film Festival, which wrapped up on May 28. (See list of Palme d'Or and other 2017 Cannes winners further below.) Clocking in at about 2 hours and 20 minutes, Östlund's unusual comedy-drama revolving around the chaotic p.r. campaign to promote the opening of the titular installation – a symbolic square of light – at a contemporary art museum in Stockholm has been generally well-received by critics. In the opinion of The Guardian's Peter Bradshaw, »
- Steph Mont.
UK art-house kingpin Curzon Artificial Eye has locked up a further four Cannes titles bringing its current haul from the festival to a mighty 10 movies.
New to the slate are Claire Denis’ Let The Sunshine In (Un Beau Soleil Interieur), joint winner of the Sacd award in Directors’ Fortnight, Laurent Cantet’s well-received The Workshop (L’Atelier), Léonor Serraille’s Camera d’Or winner Young Woman (Jeune Femme) and Rungano Nyoni’s striking Directors’ Fortnight entry I Am Not A Witch.
As previously announced the distributor has acquired Palme d’Or winner The Square, Grand Prix winner 120 Beats Per Minute, best screenplay winner The Killing Of A Sacred Deer, Fatih Akin’s Competition drama In The Fade (Aus Dem Nichts), for which Diane Kruger won the best actress prize, Michael Haneke’s Happy End and Francois Ozon’s L’Amant Double.
- email@example.com (Andreas Wiseman)
Cannes — The 70th anniversary Cannes Film Festival has wrapped, culminating with an unconventional awards ceremony in which Pedro Almodóvar and his jury bestowed a couple unexpected bonus prizes, including a tie for screenplay and a special award to Nicole Kidman, who appeared in four projects in this year’s official selection, including competition titles “The Killing of a Sacred Deer” and “The Beguiled,” season two of “Top of the Lake” and special screening “How to Talk to Girls at Parties.”
Meanwhile, the fabled Palme d’Or went to Swedish director Ruben Östlund’s cutting art-world (and real-world) satire “The Square,” which dares to bring aspects of conceptual and performance art into the sphere of cinema. The choice came as something of a surprise, if only because the masterful, 142-minute film has divided audiences so far, and jury prizes rely on consensus.
Östlund’s follow-up to Un Certain Regard winner “Force Majeure, »
- Peter Debruge
As we await the Cannes closing ceremony with all its awards glamour, let's take a look back at a previous Palme winner which has connections to a competition entry this year. Here's John Guerin...
The Class, Laurent Cantent’s 2008 Palme d’Or winner, left me both exhausted and inspired. An autobiographical chronicle of François Bégaudeau’s first year of teaching French language and literature at an inner-city high school in Paris, The Class is an entirely self-contained glimpse into the daily challenges, joys, dead-ends, nuisances, amusements, and tensions in one especially spirited classroom. Although The Class is spatially confined to the school building, the currents of the outside world frequently wash ashore and brush up against Bégaudeau’s attempts to lead a discussion of the imperfect tense or find meaning in The Diary of Anne Frank or do just about anything constructive.
Cantent and Bégaudeau, with the assistance of co-writer »
- John Guerin
Laurent Cantet has been a bit absent in the international cinema scene ever since winning the Palme d’Or for 2008’s The Class. It’s not for a lack of trying, of course. He’s released two feature since then (Foxfire and Return to Ithaca), but they just didn’t catch on the way his best movies (Time Out, Human Resources) have in the past. He’s now back at Cannes in the Un Certain Regard section with The Workshop, (L’Atelier), which has Cantet’s gift of mixing social relevance through wordy dialogue with nail-biting tension, and is as relevant as anything playing at the festival. The tension takes time to build, but when it finally explodes, it brings a whiplash one never sees coming.
Its characters, all high school students off for the summer, attend a workshop for fictional writing headed by well-known French novelist Olivia (Marina Foïs). The multiculturalism is, »
- The Film Stage
For how long can a film level-headedly discuss the rules and mechanics of a thriller before becoming something of a thriller itself? That’s the teasing hook, but not even the most loaded question, dangled by “The Workshop,” a sly, supple and repeatedly surprising collision of literary, moral and political lines of debate that marks an enthralling return to form for writer-director Laurent Cantet. Gathering a diverse group of teens to intellectually tussle in a structured educational environment — in this case, a summer creative writing workshop moderated by an acclaimed novelist — the film initially recalls the lively docu-fiction form of Cantet’s 2008 Palme d’Or winner “The Class.” Yet Cantet isn’t out to make the same film twice, deftly wrongfooting viewers as focus is pulled by the group’s most reactionary, volatile member, brilliantly played by newcomer Matthieu Lucci. The tense, excitingly topical result is entirely its own animal, »
- Guy Lodge
Playing in Un Certain Regard at the 2017 Cannes Film Festival, “The Workshop” reteams Laurent Cantet and his co-screenwriter Robin Campillo (also the writer/director of this year’s awards frontrunner “120 Beats Per Minute”) in what initially seems like an attempt to make lightning strike twice. Cantet’s “The Class” scored a stunning Palme d’Or upset at Cannes in 2008 Cannes. His was the last film screened, and few had particularly high hopes for it in a competition that also included Paolo Sorrentino’s “Il Divo” and Ari Folman’s “Waltz With Bashir.” But Cantet’s film about a multi-ethnic Paris high school turned out. »
- Ben Croll
The Palme d’Or winner (for The Class) returns with a drama that throws together disparate aspiring writers, in a film that suggests debate can be as exciting as action
Laurent Cantet’s L’Atelier shares a highly effective central device with his 2009 Palme d’Or winner The Class: the social and economic issues of a place – in L’Atelier’s case the once-thriving port town of La Ciotat, near Marseille in the south of France – are explored through the medium of education.
Related: Oh Lucy! review – Japanese tale of office worker in love with her teacher is a little wonky
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- Wendy Ide
22 May 2017 6:53 AM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
French writer-director Laurent Cantet is perhaps best known for his 2008 Palme d’Or-winning docudrama The Class, but some of his earlier films – especially the haunting unemployment saga Time Out and the taut workplace drama Human Resources – reveal a predilection for dark, character-based thrillers where the line between reality, fiction and a certain kind of madness is not always easy to discern.
These elements are all bound together in his latest feature, The Workshop (L’Atelier), an intense yet true-to-life story about an accomplished writer’s relationship with a student who troubles her as much as he leaves her constantly intrigued. Featuring »
- Jordan Mintzer
Making his first appearance in competition as a director (after having previously written Laurent Cantet's Palme d’Or-winning The Class), Robin Campillo already has a triumph on his hands with 120 Beats Per Minute, which centers on the efforts of the activist group Act Up in Paris, patterned after the New York group of the same name formed in 1989. Enriched by Campillo's own experiences with AIDS activism in the 1990s, the film—which runs close to two-and-a-half hours, one of the longer titles in competition—has a canvas both intimate and expansive, brimming with both specificity and bracing sincerity. It's the rare film that documents both a personal story and a larger movement with verve and grace, creating a compelling, often moving experience.The opening alone, which sees four new members integrated into Act Up’s weekly meetings, is impressive, laying out not just the group’s organization and rules (e. »
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force that resonates more in message than in any of the conventional, dramatic sparks you might find in a Hollywood version of this story. This is one of the most politically-minded movies to come around in quite some time as Campillo stages heated strategy sessions between the activists of Act Up like a Godard cinematic political essay post-La Chinoise. Through effective direction, the activism on display here is inspiring enough to rile one up to set aside preoccupations and try to make a difference in the world.
Campillo hasn’t really made a splash as a director over the years, unless you count 2013’s vastly underseen (at least stateside) Eastern Boys. »
- The Film Stage
With not one, but two items in Cannes this year (the other being L’Atelier from Laurent Cantet in the Un Certain Regard section), Robin Campillo technically has won Palme before when he was a scribe on Cantet’s 2008 The Class.
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- Eric Lavallée
It takes close to an hour before any backstories emerge for the ensemble cast of AIDS activists in “120 Beats Per Minute.” Before then, Robin Campillo’s engrossing drama lingers in heated strategy sessions and hectic activism, as the members of France’s early ‘90s Act Up movement toss fake blood at their targets in between arguments about the effectiveness of their tactics. Rather than attempting any big twists, Campillo lingers in this passionate world, sketching out the nature of their cause before filling in the details. The only real character arc is that sick people keep getting sicker.
This isn’t a characteristic project for Campillo, best known to English-language audiences for “They Live,” the film that inspired the “Twin Peaks”-like TV series “The Returned,” and “Eastern Boys,” a taut gay thriller in which Russian men posing as prostitutes rob an older man. “120 Beats Per Minute” contains no such far-reaching hooks, »
- Eric Kohn
What does it take to fight a pandemic? Knowledge, courage and resilience, certainly, but also rough-and-tumble argument, a range of friendships both consoling and abrasive, a healthy sense of gallows humor and soul-sustaining supplies of loud music and louder sex. French writer-director Robin Campillo understands all of this in “Bpm (Beats Per Minute),” his sprawling, thrilling, finally heart-bursting group portrait of Parisian AIDS activists in the early 1990s. A rare and invaluable non-American view of the global health crisis that decimated, among others, the gay community in the looming shadow of the 21st century, Campillo’s unabashedly untidy film stands as a hot-blooded counter to the more polite strain of political engagement present in such prestige AIDS dramas as “Philadelphia” and “Dallas Buyers Club.” Candidly queer in its perspective and unafraid of eroticism in the face of tragedy, this robust Cannes competition entry is nonetheless emotionally immediate enough to break out of the Lgbt niche. »
- Guy Lodge
This is not Moroccan-born French filmmaker Robin Campillo's first time at the Cannes Film Festival rodeo. The writer, director and editor was involved with Gilles Marchand's Who Killed Bambi? (2003), and 2008's The Class, which he not only wrote and edited but which also won the Palme d'Or for helmer Laurent Cantet. This year sees Campillo making his first appearance in competition for a film he directed (and also wrote, but did not edit). It arrives with a lot of… »
As is tradition, the Cannes Film Festival has unveiled its official schedule just days before the creme de la creme of festivals kicks off next week. Buried in an impressively stacked lineup are two brand new and delightfully unexpected additions: masterclasses with Clint Eastwood and Alfonso Cuarón, both listed as part of their Cannes Classics slate.
Eastwood’s class is slated for two hours on Sunday, May 21. The previous day, Cannes will screen Eastwood’s 1992 Western classic, “Unforgiven.” Eastwood is a long-time Cannes regular, screening films such as “Changeling,” “Pale Rider,” “Bird,” “Absolute Power,” and “Mystic River” at the festival over the years.
Read More: 17 Shocks and Surprises from the 2017 Cannes Lineup
On Wednesday, May 24, Cuarón will lead his own masterclass. The lauded Mexican filmmaker was »
- Kate Erbland
Screen’s chief critic and reviews editor Fionnuala Halligan dissects this year’s Competition films.
Welcome to the “huge party” of Cannes 70. If the Official Selection this year is a “lab”, the formula isn’t quite complete - Thierry Fremaux announced 18 films which will compete for the Palme D’Or today, implying that three have yet to arrive (he also hinted that a glaring absence, that of a film from China for the second consecutive year, may yet be rectified; nothing was said however about the absence of a major Hollywood studio thus far).
Cannes 2017: Official Selection in full
A total of 1,930 films viewed, the selection process running through to 3am: Cannes 70 will be a “meeting, a vision of the world, and a promise of a better life together”. No small ambition, but the line-up has been warmly greeted by cineastes. Clearly, it isn’t a same-old-names Cannes habitues Competition, although [link=nm »
- firstname.lastname@example.org (Fionnuala Halligan)
For such a highly anticipated event, the Cannes Film Festival tends to contain a fairly predictable lineup: The Official Selection focuses on established auteurs whose work lands a coveted slot at the flashy gathering on autopilot. That was certainly the case last year, when the 2016 edition opened with a Woody Allen movie and featured new work from the likes of Pedro Almodovar, Nicolas Winding Refn, the Dardennes brothers and Olivier Assayas.
But we live in unpredictable times, and judging by today’s announcement of the Official Selection for Cannes 2017, even the world’s most powerful festival isn’t impervious to change. This year’s Cannes is filled with surprises: television and virtual reality, some intriguing non-fiction selections, and a whole lot of unknown quantities that push the festival in fresh directions.
That’s not to say that there aren’t a few familiar names that stand out. Todd Haynes is »
- Eric Kohn
18 items from 2017
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