Categories
Festivals

Sundance 2009: I Love You Philip Morris

The premiere of I Love You Philip Morris.

Categories
Festivals

Sundance 2009: 25th Anniversary

Categories
Festivals

Sundance 2009: Filmmakers Brunch

Robert Redford, the founder of the Sundance Institute – explains the ethos of the festival at this year’s Filmmaker’s Brunch.

> Official Sundance site
> Get the latest news on the festival from Variety’s Sundance section

Categories
Festivals News

Sundance Film Festival 2009: Preview

Sundance 2009 logo

If you are heading off to Utah or just curious to see what’s happening, here is a rundown of what’s going on at this year’s Sundance Film Festival which runs from Thursday 15th until Sunday 25th January in Park City.

The high profile premieres have this year been reduced from 24 films to 16 and will screen at the Eccles Theatre.

PREMIERES

The Premieres section showcases the latest titles from American and international directors and screens world premieres of highly anticipated films. 

  • 500 Days of Summer / USA. (Director: Marc Webb; Screenwriters: Scott Neustadter, Michael H. Weber)—When an unlucky greeting card copywriter is dumped by his girlfriend, the hopeless romantic shifts back and forth through various periods of their 500 days ‘together’ in hopes of figuring out where things went wrong. Cast: Zooey Deschanel, Joseph Gordon-Levitt. [World Premiere] 
  • Adventureland / USA (Director and Screenwriter: Greg Mottola)—In 1987, a recent college graduate takes a nowhere job at his local amusement park and discovers the job is perfect preparation for the real world. Cast: Kristen Stewart, Ryan Reynolds, Bill Hader. [World Premiere] 
  • Brooklyn’s Finest / USA (Director: Antoine Fuqua; Screenwriter: Michael C. Martin)—After enduring vastly different career paths, three unconnected Brooklyn cops wind up at the same deadly location. Cast: Richard Gere, Ethan Hawke, Wesley Snipes, Don Cheadle, Ellen Barkin. [World Premiere] 
  • Earth Days / USA (Director: Robert Stone)—The history of our environmental undoing through the eyes of nine Americans whose work and actions launched the modern environmental movement. [World Premiere & Closing Night Film] 
  • Endgame / UK (Director: Pete Travis; Screenwriter: Paula Milne)—A political thriller in which a businessman initiates covert discussions between the African National Congress and white intellectuals to try and find a peaceful solution to the Apartheid regime. Cast: William Hurt, Chiwetel Ejiofor, Jonny Lee Miller, Mark Strong. [World Premiere] 
  • I Love You Philip Morris / USA (Directors and Screenwriters: Glenn Ficarra and John Requa)—The true story about con artist and imposter Steven Jay Russell, a married father whose exploits land him in the Texas criminal justice system. Based on the novel by Houston Chronicle crime reporter Steve McVicker. Cast: Jim Carrey, Ewan McGregor, Leslie Mann, Rodrigo Santoro. [World Premiere]
  • The Informers / USA (Director: Gregor Jordan; Screenwriters: Bret Easton Ellis and Nicholas Jarecki)—A drama based on Bret Easton Ellis’ novel, set in the 1980s, focusing on wealthy Angelinos consumed by a decadent lifestyle. Cast: Billy Bob Thornton, Kim Basinger, Winona Ryder, Mickey Rourke. [World Premiere] 
  • In the Loop / UK (Director: Armando Iannucci; Screenwriters: Armando Iannucci and Jesse Armstrong)— A fast-paced film about Britain and America’s special relationship in the lead-up to a war no one seems to be able to stop. Cast: Peter Capaldi, James Gandolfini, Tom Hollander. World Premiere 
  • Manure / USA (Director: Michael Polish; Screenwriters: Mark Polish and Michael Polish)—A comic tale centered on manure salesmen in the early 1960s. Cast: TĂ©a Leoni, Billy Bob Thornton, Kyle MacLachlan. [World Premiere] 
  • Mary and Max / Australia (Director and Screenwriter: Adam Elliot)—The tale of two unlikely pen pals: Mary, a lonely, eight-year-old girl living in the suburbs of Melbourne, and Max, a forty-four-year old, severely obese man living in New York. Cast: Philip Seymour Hoffman (voice), Toni Collette (voice), Barry Humphries (voice). [World Premiere & Opening Night Film]
  • The Messenger / USA (Director: Oren Moverman; Screenwriters: Alessandro Camon and Oren Moverman)—Two soldiers from different generations form a unique bond as they cope with their assignment with the Army Casualty Notification department. Cast: Ben Foster, Woody Harrelson, Samantha Morton, Jena Malone, Eamonn Walker. World Premiere
  • Moon / UK (Director: Duncan Jones; Screenwriter: Nathan Parker)—Before returning to Earth after three years on the moon, things go horribly wrong for astronaut Sam Bell. Cast: Sam Rockwell, Kevin Spacey. [World Premiere]
  • Motherhood / USA (Director and Screenwriter: Katherine Dieckmann)—A mother of two from Manhattan is having a day that would challenge even the toughest maternal multi-tasker. Cast: Uma Thurman, Minnie Driver, Anthony Edwards. [World Premiere]
  • Rudo and Cursi (Rudo y Cursi) / Mexico (Director and Screenwriter: Carlos CuarĂłn)—Two siblings rival each other inside the world of professional soccer. Cast: Diego Luna, Gael GarcĂ­a Bernal, Guillermo Francella. [U.S. Premiere] 
  • Shrink / USA (Director: Jonas Pate; Screenwriter: Thomas Moffett)—Unable to come to grips with a recent personal tragedy, Los Angeles’ top celebrity psychiatrist loses faith in his ability to help his patients. Cast: Kevin Spacey, Keke Palmer, Mark Webber, Dallas Roberts, Saffron Burrows. [World Premiere]
  • Spread / USA (Director: David Mackenzie; Screenwriter: Jason Dean Hall)—A handsome young man survives in Los Angeles by seducing wealthy older women. Cast: Ashton Kutcher, Anne Heche. [World Premiere]

[ad]

SPECTRUM 

A strand showcasing out-of-competition dramatic and documentary films from some of the most promising filmmakers in the world today.

  • Against the Current / USA (Director and Screenwriter: Peter Callahan)—Facing the anniversary of his pregnant wife’s tragic death, thirty-five-year old Paul Thompson enlists the help of two friends to help him swim the length of the Hudson River. Cast: Joseph Fiennes, Justin Kirk, Elizabeth Reaser, Mary Tyler Moore, Michelle Trachtenberg. World Premiere 
  • The Anarchist’s Wife (La Mujer del Anarquista) / Germany/Spain (Directors: Marie Noelle and Peter Sehr; Screenwriters: Marie Noelle and Ray Loriga)—During the Spanish Civil War an idealistic young lawyer combating Franco’s Fascist troops is separated from his wife and children. Cast: Maria Valverde, Juan Diego Botto, Nina Hoss, Ivana Baquero, Jean-Marc Barr.North American Premiere 
  • Barking Water / USA (Director and Screenwriter: Sterlin Harjo)—Irene and Frankie have had a tumultuous relationship for forty years. As Frankie lies on his deathbed, Irene comes back to him one last time to break him from the hospital and take him home. Cast: Richard Ray Whitman, Casey Camp- Horenik. World Premiere 
  • Children of Invention / USA (Director and Screenwriter: Tze Chun)—Two young children living illegally in a model apartment outside Boston are left to fend for themselves when their mother is arrested for unwittingly taking part in an illegal pyramid scheme. Cast: Cindy Cheung, Michael Chen, Crystal Chiu. World Premiere 
  • Everything Strange and New / USA (Director and Screenwriter: Frazer Bradshaw)—Trapped by a life he never intended, a man struggles to navigate family, sexuality and drug addiction. Cast: Jerry McDaniel, Beth Lisick, Rigo Chacon Jr., Luis Saguar. World Premiere 
  • Helen / Canada/Germany (Director and Screenwriter: Sandra Nettelbeck)—A successful music professor fights her own clinical depression. Cast: Ashley Judd, Goran Visnijic. World Premiere 
  • The Immaculate Conception of Little Dizzle / USA (Director and Screenwriter: David Russo)—After losing his high-paying job, Dory takes a gig as a night janitor in order to pay rent. Alone late at night inside a market research firm, he discovers something worse than his new job cleaning toilets – a conniving corporate executive has made him the subject of a bizarre experiment. Cast: Marshall Allman, Vince Vieluf, Natasha Lyonne, Tania Raymonde, Tygh Runyan. World Premiere 
  • Johnny Mad Dog / France (Director: Jean-StĂ©phane Sauvaire; Screenwriters: Jean-StĂ©phane Sauvaire and Jacques Fieschi)—A fifteen-year-old kid-soldier fighting in Africa is armed to the hilt and inhabited by the mad dog he dreams of becoming. Cast: Christophe Minie, Daisy Victoria Vandy. North American Premiere 
  • La Mission / USA (Director and Screenwriter: Peter Bratt)—A traditional, Latino father in San Francisco’s Mission District struggles to come to terms with his teenage son’s homosexuality. Cast: Benjamin Bratt, Erika Alexander, Jeremy Ray Valdez, Talisa Soto Bratt, Jesse Borrego.World Premiere 
  • Lymelife / USA. (Director: Derick Martini; Screenwriters: Derick Martini and Steven Martini)—Set in the 1970s, a unique take on the dangers of the American dream seen through the innocent eyes of a fifteen- year-old boy. Cast: Alec Baldwin, Kieran Culkin, Timothy Hutton, Cynthia Nixon, Emma Roberts. U.S. Premiere 
  • The Missing Person / USA (Director and Screenwriter: Noah Buschel)—Private detective John Rosow is hired to tail a man on a train from Chicago to Los Angeles. En route, Rosow uncovers that the man’s identity is one of the thousands presumed dead after the 9/11 terrorist attacks on the World Trade Center. Cast: Michael Shannon, Amy Ryan, Frank Wood.World Premiere 
  • Once More with Feeling / USA (Director: Jeff Lipsky; Screenwriter: Gina O’Brien)—A comedy about a psychiatrist who undergoes a midlife crisis and pursues his long-lost ambition of becoming a singer through karaoke. Cast: Drea de Matteo, Linda Fiorentino, Chazz Palminteri, Susan Misner, Lauren Bittner. World Premiere 
  • The Only Good Indian / USA (Director: Kevin Willmott; Screenwriter: Tom Carmody)—Set in early 1900s Kansas, a teenage Native American boy is taken from his family and forced to attend an Indian ‘training’ school to assimilate into White society. Cast: Wes Studi, Winter Fox Frank, J. Kenneth Campbell. World Premiere 
  • Pomegranates and Myrrh (Al Mor wa al Rumman) / Palestinian Territories (Director and Screenwriter: Najwa Najjar)—The wife of a Palestinian prisoner searches for freedom. Cast: Ali Suliman, Yasmine Al Massri, Ashraf Farah, Hiam Abbass. North American Premiere 
  • The Vicious Kind / USA (Director and Screenwriter: Lee Toland Krieger)—Suffering insomnia and testy by nature, Caleb Sinclaire reluctantly picks up his brother Peter at college and brings him and his new girlfriend Emma home to his estranged father’s house for Thanksgiving. Cast: Brittany Snow, Adam Scott, J.K. Simmons, Alex Frost. World Premiere
  • World’s Greatest Dad / USA (Director and Screenwriter: Bobcat Goldthwait)—A comedy about a high school poetry teacher who learns that the things you want most may not be the things that make you happy. Cast: Robin Williams, Daryl Sabara, Alexie Gilmore, Tom Kenny, Geoffrey Pierson. World Premiere 
  • It Might Get Loud / USA (Director: Davis Guggenheim)—The history of the electric guitar from the point of view of three legendary rock musicians. Cast: The Edge, Jimmy Page, Jack White. U.S. Premiere 
  • No Impact Man / USA (Directors: Laura Gabbert and Justin Schein)—The documentary follows the Beavan family as they abandon their high consumption Fifth Avenue lifestyle in an attempt to make a no- net environmental impact for the course of one year. Cast: Michelle Conlin, Colin Beavan. World Premiere
  • Passing Strange / USA (Director: Spike Lee; Lyrics: Stew; Music: Stew and Heidi Rodewald)—A musical documentary about the international exploits of a young man from Los Angeles who leaves home to find himself and ‘the real’. A theatrical stage production of the original Tony-Award winning book by Stew. Cast: De’Adre Aziza, Daniel Breaker, Eisa Davis, Colman Domingo, Stew. World Premiere
  • Tyson / USA (Director: James Toback)—An intimate look at the complex life of former heavyweight 
  • champ Mike Tyson. Cast: Mike Tyson. North American Premiere
  • Why We Laugh: Black Comedians on Black Comedy / USA (Director: Robert Townsend; Quincy Newell)—Using rare archival clips along with provocative interviews with many of today’s leading comedians and social critics, Why We Laugh celebrates the incredible cultural influence and social impact black comedy has wielded over the past 400 years. Cast: Chris Rock, Bill Cosby, Keenan Ivory Wayans, Steve Harvey, Dick Gregory. World Premiere 
  • Wounded Knee / USA (Director: Stanley Nelson; Screenwriter: Marcia Smith)—In 1973, American Indian groups took over the town of Wounded Knee, South Dakota to draw attention the 1890 massacre. Though the federal government failed to keep many of the promises that ended the siege, the event succeeded in bringing to the world’s attention the desperate conditions of Indian reservation life. World Premiere 
  • The Yes Men Fix the World / France/ USA (Directors: Andy Bichlbaum, Mike Bonanno and Kurt Engfehr)—A pair of notorious troublemakers sneak into corporate events disguised as captains of industry, then use their momentary authority to expose the biggest criminals on the planet. Cast: Andy Bichlbaum, Mike Bonanno. World Premiere 

[ad]

PARK CITY AT MIDNIGHT 

Park City at Midnight shows eight films that are likely to amuse, surprise, or shock the late night festival audience. 

  • Black Dynamite / USA (Director: Scott Sanders; Screenwriters: Michael Jai White, Scott Sanders, and Byron Minns)—When ‘The Man’ murders his brother, pumps heroin into local orphanages, and floods the ghetto with adulterated malt liquor, 1970s African-American action legend Black Dynamite is the one hero willing to take him on. Cast: Michael Jai White, Tommy Davidson, Salli Richardson-Whitfield, Byron Minns, James McManus. World Premiere 
  • The Carter / USA (Director: Adam Bhala Lough)—An in-depth, intimate look at the artist Dwayne “Lil’ Wayne” Carter Jr, proclaimed by many as the “greatest rapper alive” Cast: Lil’ Wayne, Brian Williams, Cortez Bryant. World Premiere 
  • DĂžd SnÞ (Dead Snow) / Norway (Director: Tommy Wirkola; Screenwriters: Tommy Wirkola and Stig Frode Henriksen)—A group of teenagers had all they needed for a successful ski vacation; cabin, skis, snowmobile, toboggan, copious amounts of beer and a fertile mix of the sexes. Certainly, none of them anticipated not returning home alive! However, the Nazi-zombie battalion haunting the mountains had other plans. Cast: Vegard Hoel, Stig Frode Henriksen, Charlotte Frogner, Jenny Skavlan, Jeppe Beck Laursen. North American Premiere 
  • Grace / USA (Director and Screenwriter: Paul Solet)—After losing her unborn child, Madeline Matheson insists on carrying the baby to term. Following the delivery, the child miraculously returns to life, but when the baby develops a desperate appetite for human blood, Madeline is faced with a mother’s ultimate decision. Cast: Jordan Ladd, Samantha Ferris, Gabrielle Rose, Malcom Stewart, Stephen Park, Serge Houde. World Premiere
  • The Killing Room / USA (Director: Jonathan Liebesman; Screenwriters: Gus Krieger and Ann Peacock)—Four individuals sign up for a psychological research study only to discover that they are now subjects of a brutal, classified government program. Cast: Chloe Sevigny, Peter Stormare, Clea DuVall, Timothy Hutton, Nick Cannon. World Premiere 
  • Mystery Team / USA (Director: Dan Eckman; Screenwriters: Dominic Dierkes, Donald Glover, and DC Pierson)—A group of kid detectives called The Mystery Team struggle to solve a double murder to prove they can be real detectives before they graduate from high school. Cast: Dominic Dierkes, D.C. Pierson, Donald Glover, Aubrey Plaza, Bobby Moynihan.World Premiere 
  • Spring Breakdown / USA (Director: Ryan Shiraki; Screenwriters: Ryan Shiraki and Rachel Dratch)— Three thirtysomething friends attempt to break the monotony of their uninspired lives by vacationing at a popular spring break getaway for college students. Cast: Rachel Dratch, Amy Poehler, Parker Posey, Will Arnett, Rachel Hamilton. World Premiere 
  • White Lightnin’ / UK (Director: Dominic Murphy; Screenwriters: Shane Smith and Eddy Moretti)—The outrageous cult story of Jesco White, the dancing outlaw. Cast: Ed Hogg, Carrie Fisher, Muse Watson, Wallace Merck, Clay Steakley. World Premiere 

 

[ad]

FRONTIER 

The Festival’s Frontier section explores the experimental world of filmmaking.

  • Lunch Break/Exit / USA (Director: Sharon Lockhart)—Lunch Break and Exit yield from Lockhart’s timely new film and photographic series about the bleak state of U.S. labor. InLunch Break, a single tracking shot through a long corridor where workers take their lunch hour at the massive shipyard, Bath Iron Works in Maine, reveals how 42 workers spend their lunch break. In Exit, the frame constantly fills with teaming workers each day as they head for home after a long day’s work. 
  • O’er the Land / USA (Director: Deborah Stratman)—A meditation on our national psyche and the milieu of elevated threat, ‘O’er the Land‘ addresses gun culture, national identity, wilderness, consumption, patriotism and the possibility of personal transcendence.
  • Stay the Same Never Change / USA (Director and Screenwriter: Laurel Nakadate)—A mix of visual fact and narrative fiction starring a group of amateur actors in Kansas City. Whether it’s a family man looking for beauty or a young woman obsessed with polar bears and Oprah, the characters in this humorous film reveal quiet lives full of sadness and desire. Cast: Dirk Cowan, Julie Potratz, Emily Boullear, Cyan Meeks, Tate Buck. World Premiere 
  • Where is Where? / (Director: Eija Liisa-Ahtila)—Where is Where? is an experimental, four channel film based on an incident which happened during the struggle for independence in Algeria. As a reaction to the acts of violence committed by the French, two young Algerian boys murder their friend, a French boy of the same age. The film starts from the present day when the Death enters the house of a poet who is attempting to write about the incident.World Premiere 
  • Artist Spotlight: The Works of Maria Marshall / USA (Director: Maria Marshall)—Maria Marshall’s disturbing and gorgeously composed video projections provoke the psychological dimensions of cinema. Often violent and always visually charming, Marshall often uses her two sons in the main roles of her films. Her work tackles fundamental subjects of motherhood, socialization and life experience and takes us back to the world of childhood as a pretext in order to evoke the anxiety of adults. 
  • You Won’t Miss Me / USA (Director: Ry Russo-Young)—A portrait of a modern day rebel, Shelly Brown, a twenty-three year-old alienated urban misfit recently released from a psychiatric hospital. Cast: Stella Schnabel, Rene Ricard. World Premiere

[ad]

DOCUMENTARY COMPETITION

This year’s 16 documentaries were selected from 879 submissions.

  • Art & Copy (Director: Doug Pray; Screenwriter: Timothy J. Sexton) – Rare interviews with the most influential advertising creative minds of our age illustrate the wide-reaching effect advertising and creativity have on modern culture. World Premiere
  • Boy Interrupted (Director: Dana Perry) – An intimate look at the life, mental illness and death of a young man told from the point of view of the filmmaker: his mother. World Premiere
  • The Cove (Director: Louie Psihoyos; Screenwriter: Mark Monroe) – Dolphins are dying, whales are disappearing, and the oceans are growing sick. The horrors of a secret cove nestled off a small, coastal village in Japan are revealed by a group of activists led by Ric Barry, the man behind Flipper. World Premiere
  • Crude (Director: Joe Berlinger) – The inside story of the ÒAmazon ChernobylÓ case in the rainforest of Ecuador, the largest oil-related environmental lawsuit in the world. World Premiere
  • Dirt! The Movie (Directors: Bill Benenson and Gene Rosow) – The story of the relationship between humans and dirt, Dirt! The Movie humorously details how humans are rapidly destroying the last natural resource on earth.  World Premiere
  • El General (Director: Natalia Almada) – As great-granddaughter of Mexican President Plutarco Elias Calles, one of MexicoÕs most controversial revolutionary figures, filmmaker Natalia Almada paints an intimate portrait of Mexico. World Premiere
  • Good Hair (Director: Jeff Stilson) – Comedian Chris Rock turns documentary filmmaker when he sets out to examine the culture of African-American hair and hairstyles. World Premiere
  • Over the Hills and Far Away (Director: Michel Orion Scott) – Over the Hills and Far Awaychronicles the journey of the Isaacson family as they travel through Mongolia in search of a mysterious shaman they believe can heal their autistic son. World Premiere
  • The Reckoning (Director: Pamela Yates; Screenwriters: Peter Kinoy, Paco de Onis, Pamela Yates) – A battle of monumental proportions unfolds as International Criminal Court Prosecutor Luis Moreno Ocampo faces down warlords, genocidal dictators and world superpowers in bringing perpetrators of crimes against humanity to justice. World Premiere
  • Reporter (Director: Eric Daniel Metzgar) – Set in Africa, this documentary chronicles, in verite fashion, the haunting, physically grueling and shocking voyage of Pulitzer-Prize winning journalist, Nicholas D. Kristof. World Premiere.
  • The September Issue (Director: R.J. Cutler) – With unprecedented access, director R.J. Cutler and his crew shot for nine months as they captured Vogue editor in chief Anna Wintour and her team preparing the 2007 Vogue September issue, widely accepted as the “fashion bible” for the year’s trends. World Premiere
  • Sergio (Director: Greg Barker) – Sergio examines the role of the United Nations and the international community through the life and experiences of Sergio Vieira de Mello, the U.N.’s High Commissioner for Human Rights, including interviews with those who knew and worked with him over the course of his extraordinary career. World Premiere
  • Shouting Fire: Stories from the Edge of Free Speech (Director: Liz Garbus) – An exploration of the history and current state of free speech in America narrated by the filmmaker’s father, First Amendment attorney Martin Garbus. World Premiere
  • We Live in Public (Director and Screenwriter: Ondi Timoner) – We Live in Public is the story of the InternetÕs revolutionary impact on human interaction as told through the eyes of maverick web pioneer, Josh Harris and his transgressive art project that shocked New York. World Premiere
  • When You’re Strange (Director and Screenwriter: Tom DiCillo) – The first feature documentary about The Doors,  When You’re Strange enters the dark and dangerous world of one of AmericaÕs most influential bands using only footage shot between 1966 and 1971.World Premiere
  • William Kunstler:  Disturbing the Universe  (Directors: Sarah Kunstler and Emily Kunstler) – With clients including Martin Luther King Jr., Malcolm X, and the Chicago 10, the late civil rights attorney William Kunstler was one of the most famous lawyers of the 20th century. Filmmakers Emily and Sarah Kunstler explore their fatherÕs life from movement hero to Òthe most hated lawyer in America. World Premiere

[ad]

U.S. DRAMATIC COMPETITION

This year’s 16 films were selected from 1,026 submissions.

  • Adam (Director and Screenwriter: Max Mayer) – A strange and lyrical love story between a somewhat socially dysfunctional young man and the woman of his dreams. Cast: Hugh Dancy, Rose Byrne, Peter Gallagher, Amy Irving, Frankie Faison, Mark Linn-Baker. World Premiere
  • Amreeka (Director and Screenwriter: Cherien Dabis) – When a divorced Palestinian woman and her teenage son move to rural Illinois, they find their new lives replete with challenges. Cast: Nisreen Faour, Melkar Muallem, Hiam Abbass, Yussuf Abu-Warda, Alia Shawkat, Joseph Ziegler. World Premiere
  • Arlen Faber (Director and Screenwriter: John Hindman) – A reclusive author of a groundbreaking spiritual book awakens to new truths when two strangers enter his life. Cast: Kat Dennings, Lauren Graham, Olivia Thirlby, Jeff Daniels, Tony Hale. World Premiere
  • Big Fan (Director and Screenwriter: Robert Siegel) – The world of a parking garage attendant who happens to be the New York Giants’ biggest fan is turned upside down after an altercation with his favorite player. Cast: Patton Oswalt, Michael Rapaport, Kevin Corrigan, Marcia Jean Kurtz, Matt Servitto. World Premiere
  • Brief Interviews with Hideous Men (Director and Screenwriter: John Krasinski) – When her boyfriend leaves with little explanation, a doctoral candidate in anthropology tries to remedy her heartache by interviewing men about their behavior. Cast: Julianne Nicholson, John Krasinski, Timothy Hutton, Dominic Cooper, Christopher Meloni, Bobby Cannavale.World Premiere
  • Cold Souls (Director and Screenwrtier: Sophie Barthes) – In the midst of an existential crisis, a famous American actor explores soul extraction as a relief from the burdens of daily life. Cast: Paul Giamatti, David Strathairn, Dina Korzun, Emily Watson, Lauren Ambrose, Katheryn Winnick. World Premiere
  • Dare (Director: Adam Salky; Screenwriter: David Brind) – Three very different teenagers discover that, even in the safe world of a suburban prep school, no one is who she or he appears to be. Emmy Rossum, Zach Gilford, Ashley Springer, Ana Gasteyer, Alan Cumming, Sandra Bernhard, Rooney Mara. World Premiere
  • Don’t Let Me Drown (Director: Cruz Angeles; Screenwriters: Maria Topete and Cruz Angeles) – Two Latino teens whose lives are affected by the attack on the World Trade Center discover that love is the only thing that keeps them from drowning. Cast: E.J. Bonilla, Gleendilys Inoa, Dami‡n Alc‡zar, Ricardo Chavira, Gina Torres. World Premiere
  • The Greatest (Director and Screenwriter: Shana Feste) – After the tragic loss of their teenage son, a family is again thrown into turmoil by the arrival of a young woman.  Cast: Pierce Brosnan, Susan Sarandon, Carey Mulligan, Johnny Simmons, Aaron Johnson, Mike Shannon. World Premiere
  • Humpday (Director and Screenwriter: Lynn Shelton) – A farcical comedy about straight male bonding gone a little too far. Cast: Mark Duplass, Joshua Leonard, Alycia Delmore, Lynn Shelton, Trina Willard. World Premiere
  • Paper Heart (Director: Nicholas Jasenovec; Screenwriters: Nicholas Jasenovec and Charlyne Yi) – Even though performer Charlyne Yi doesn’t believe in love, she bravely embarks on a quest to discover its true nature – a journey that takes on surprising urgency when she meets unlikely fellow traveler, actor Michael Cera. Cast: Charlyne Yi, Michael Cera, Jake Johnson.World Premiere
  • Peter and Vandy (Director and Screenwriter: Jay DiPietro) – Peter and Vandy is a love story told out of order.  Juxtaposing Peter and Vandy’s romantic beginnings with the twisted-manipulative-regular couple they become, the film explores the question most couples ask themselves… “How the hell did we get this way?” Cast: Jess Weixler, Jason Ritter, Jesse L. Martin, Tracie Thoms. World Premiere
  • Push (Director and Screenwriter: Lee Daniels; Damien Paul) – Based on the acclaimed, best-selling novel by Sapphire, Push is the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice. Cast: Gabourey ÒGabbyÓ Sidibe, Paula Patton, MoÕNique Imes, Lenny Kravitz, Mariah Carey.  World Premiere
  • Sin Nombre (Director and Screenwriter: Cary Joji Fukunaga) – A teenaged Mexican gang member maneuvers to outrun his violent past and elude unforgiving former associates in this thriller set among Central American migrants seeking to cross over to the United States. Cast: Edgar Flores, Paulina Gaitan, Kristyan Ferrer, Tenoch Huerta Mej’a, Luis Fernando Pe–a, Diana Garc’a. World Premiere
  • Taking Chance (Director: Ross Katz; Screenwriters: LtCol Michael R. Strobl, USMC (Ret.) and Ross Katz) –  Based on real-life events, Lt. Col. Michael Strobl, a volunteer military escort officer, accompanies the body of 19-year-old Marine Chance Phelps back to his hometown of Dubois, Wyoming. Cast: Kevin Bacon.  World Premiere
  • Toe to Toe (Director and Screenwriter: Emily Abt) – The story of an inter-racial friendship put to the test by the intense pressures of a competitive Washington, D.C. prep school. Cast: Sonequa Martin, Louisa Krause, Silvestre Rasuk, Leslie Uggams, Gaius Charles, Ally Walker.  World Premiere

[ad]

WORLD CINEMA DOCUMENTARY

This year’s 16 world cinema documentaries were selected from 744 submissions:

  • 211:Anna/ Italy (Directors:Paolo Serbandini & Giovanna Massimetti) – The story of Anna Politkovskaya, a Russian journalist and human rights activist who risked her life to report the truth about the Chechen conflict and President Vladimir Putin.  World Premiere
  • Afghan Star/Afghanistan/UK (Director: Havana Marking) – After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. This film follows the dramatic stories of four contestants as they risk their lives to sing. North American Premiere
  • Big River Man/ USA (Director: John Maringouin) – An overweight, wine-swilling Slovenian world-record-holding endurance swimmer resolves to brave the mighty Amazon – in nothing but a Speedoš.  World Premiere
  • Burma VJ/Denmark (Director: Anders Ostergaard) – In September 2007, Burmese journalists risking life imprisonment to report from inside their sealed-off country are suddenly thrown onto the global stage as their pocket camera images of the Saffron Revolution make headlines everywhere. U.S. Premiere
  • The End of the Line/ UK (Director: Rupert Murray) – Based on the book by journalist Charles Clover, The End of the Line reveals the devastating effect that global overfishing is having on fish stocks and the health of our oceans. World Premiere
  • The Glass House/USA (Director: Hamid Rahmanian) – The Glass House follows four teenage girls striving to overcome drug addiction, abandonment and abuse by attending a rehabilitation center in Tehran. North American Premiere
  • Kimjongilia/France/USA (Director: N.C. Heikin) – Defectors from North Korea finally speak out about the terrifying reality of their lives–and escapes. World Premiere
  • Let’s Make Money/ Austria (Director: Erwin Wagenhofer) – From the factories of India, to financial markets in Singapore, to massive housing developments in Spain and offshore banks in Jersey, Let’s Make Money reveals complex and shocking workings of global money flow.World Premiere
  • Nollywood Babylon/Canada (Directors: Ben Addelman and Samir Mallal) – Welcome to the wacky world of Nollywood, Nigeria’s bustling home-grown movie industry. U.S. Premiere
  • Old Partner/South Korea (Director: Chung-ryoul Lee) – A humble octogenarian farmer lives out his final days with his spitfire wife and his loyal old ox in the Korean countryside. North American Premiere
  • Prom Night in Mississippi/ Canada (Director: Paul Saltzman) – When a small-town Mississippi high school resolves to hold its first integrated senior prom, strong emotions fly and traditions are challenged to their core. World Premiere
  • The Queen and I (Drottningen och jag) / Sweden (Director: Nahid Persson Sarvestani – Swedish filmmaker Sarvestani, an Iranian exile who helped overthrow the Shah’s regime in 1979, confronts her own assumptions and complex truths about Iran when she enters the life of the Shah’s widow. World Premiere
  • Quest for Honor/ Kurdistan / USA (Director: Mary Ann Bruni) – A former teacher and tireless activist works with local lawmen, Kurdish government agencies and her colleagues to investigate and eradicate honor killings in the tribal regions of Kurdistan. World Premiere
  • Rough Aunties/ UK (Director: Kim Longinotto) – Fearless, feisty and unwavering, the ‘Rough Aunties’ protect and care for the abused, neglected and forgotten children of Durban, South Africa. North American Premiere
  • Thriller in Manila/ UK (Director: John Dower) – A tale of betrayal stoked by the racial politics of 1970s America, Thriller in Manila chronicles the most intense and bitter sporting rivalry ever:  the 1975 final match between Muhammad Ali and Joe Frazier. North American Premiere
  • Tibet in Song / USA (Director: Ngawang Choephel) – Through the story of Tibetan music, this film depicts the determined efforts of Tibetan people, both in Tibet and in exile, to preserve their unique cultural identity. Choephel served six years of an 18-year prison sentence for filming in Tibet. World Premiere

[ad]

WORLD CINEMA DRAMATIC COMPETITION

This year’s 16 world cinema entries were selected from a record 1,012 submissions:

  • Before Tomorrow (Le Jour Avant Lendemain) / Canada (Directors: Madeline Piujuq & Marie-Helene Cousineau)—A wise old woman fights to survive impossible circumstances with her young grandson in the Canadian arctic. Cast: Peter-Henry Arnatsiaq, Paul-Dylan Ivalu, Madeline Piujuq Ivalu, Mary Qulitalik, Tumasie Sivuarapik.
  • Bronson / UK (Director: Nicolas Winding Refn; Screenwriter: Brock Norman Brock; Nicolas Winding Refn) – Bronson traces the transformation of Mickey Peterson into Britain’s most notorious, dangerous, and charismatic prisoner, Charles Bronson. Cast: Tom Hardy.  North American Premiere
  • Carmo, Hit the Road / Spain (Director and Screenwriter: Murilo Pasta)— A lonely, handicapped smuggler and a beautiful girl embark on a reckless ride through a South American border landscape. Cast: Mariana Loureiro, Fele MartĂ­nez, Seu Jorge. North American Premiere
  • The Clone Returns Home(Kuron Wa Kokyo-Wo Mezasu)/ Japan (Director and Screenwriter: Kanji Nakajima) – A Japanese astronaut who dies during a mission is subsequently resurrected as a clone and returns to his childhood home. Cast: Mitsuhiro Oikawa, Eri Ishida, Hiromi Nagasaku.  North American Premiere
  • Dada’s Dance / China (Director: Zhang Yuan; Screenwriter: Li Xiaofeng) – Dada is a flirtatious young woman who lives with her mother in a small town. Having to fend off the constant advances of her mother’s boyfriend who tells her she is adopted, she undertakes a journey in search of her birth mother. Cast: Li Xinyun, Li Xiaofeng, Gai Ge, Chen Jun.  North American Premiere.
  • An Education/UK (Director: Lone Scherfig; Screenwriter: Nick Hornby) – In the early 60s, a sharp 16-year-old with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents. Cast: Peter Sarsgaard, Carey Mulligan, Alfred Molina, Emma Thompson.  World Premiere
  • Five Minutes of Heaven /UK / (Director: Oliver Hirschbiegel; Screenwriter: Guy Hibbert) – Two men from the same town but from different sides of the Irish political divide discover that the past is never dead – in fact it isn’t even past. Cast: Liam Neeson, James Nesbitt, Anamaria Marinca. World Premiere
  • A French Gigolo (Cliente) / France (Director and Screenwriter: Josiane Balasko) – An attractive, successful 50-something woman regularly treats herself to the sexual services of young men selected on Internet sites. When one particular escort becomes a habit, the relationship gets a bit more complicated. Cast: Nathalie Baye, Eric Caravaca, Isabelle Carre, Josiane Balasko.  North American Premiere
  • Heart of Time (Corazon Del Tiempo)/ Mexico (Director and Screenwriter: Alberto Cortes) – In La Esperanza de San Pedro, Chiapas, in the midst of the Zapatista struggle, a young woman makes serious waves when she falls in love with a revolutionary fighter from the mountains.  Cast: Roc’o Barrios. North American Premiere
  • Louise-Michel/France (Directors: Benoit Delepine and Gustave Kervern) – When a French factory is abruptly closed by its corrupt management, a group of disgruntled female workers pool their paltry compensation money and hire a hit man to knock off the corrupt executive behind the closure. Cast: Yolande Moreau, Bouli Lanners.  North American Premiere
  • Lulu and Jim (Lulu und Jimi)/ Germany (Director: Oskar Roehler) – Bright garish colors, rock and roll and wild dance numbers mark this road movie about lovers fleeing from the evil powers of a 1950s deeply bigoted German society.Cast: Jennifer Decker, Ray Fearon, Katrin Sa§, Rolf Zacher, Udo Kier. World Premiere
  • The Maid (La Nana)/Chile (Director and Screenwriter: Sebastian Silva) – When her mistress brings on another servant to help with the chores, a bitter and introverted maid wreaks havoc on the household. Cast: Catalina Saavedra, Claudia Celed—n, Mariana Loyola, Alejandro Goic, Andrea Garc’a-Huidobro. North American Premiere
  • One Day in a Life (Un Altro Pianeta)/Italy (Director and Screenwriter: Stefano Tummolini) – One languid summer day, a man heads to the beach in search of sunshine and bit of peace, but finds himself tangled up in the dramas of an eclectic group of nearby sunbathers.Cast: Antonio Merone, Lucia Mascino.  World Premiere
  • Unmade Beds/ UK (Director and Screenwriter: Alexis Dos Santos) – Two young foreigners find romance in the vibrant, artistic underground of London’s East End.Cast: Deborah Francois, Fernando Tielve. World Premiere
  • Victoria Day/Canada (Director and Screenwriter: David Bezmozgis)—Over the course of one week in 1988, the search for a missing teammate, parental expectations, a burgeoning sexual awakening and the rock concert of the century all threaten to jolt a sixteen year old into adulthood. Cast: Mark Rendall, Sergiy Kotelenets, Nataliya Alyexeyenko, Holly Deveaux, John Mavrogiannis. World Premiere
  • Zion and His Brother (Zion Ve-Achiv)/ France / Israel (Director and Screenwriter: Eran Merav) – The disappearance of a young boy sends a wedge between two teenage brothers whose loyalty had been unshakeable, in this gritty story of a working class Tel Aviv single-parent family. Cast: Reuven Badalov, Ronit Elkabetz, Tzahi Grad. World Premiere

[ad]

> Official website for the Sundance Film Festival
> Find out more about the history of the festival at Wikipedia

Categories
Festivals

LFF 2008: Day 16

Slumdog Millionaire poster

Today is the final day of this year’s London Film Festival and earlier this morning I saw Slumdog Millionaire, which is tonight’s closing film.

Directed by Danny Boyle, it is the story of a streetkid from Mumbai who goes on the Hindi version of Who Wants to Be a Millionaire?

I spoke to Danny last year and he told me a bit about the story, which you can listen to here:

[audio:Danny_Boyle_on_Slumdog_Millionaire_back_in_April_2007.mp3]

Adapted by Simon Beaufoy (The Full Monty) from the novel Q and A by Vikas Swarup, it recently received a lot of buzz and critical acclaim at the Telluride and Toronto film festivals.

What’s interesting is that the narrative plays a little like The Usual Suspects, as we learn how the central character Jamal (Dev Patel) came to be on the game show.  

It then flashes back to periods of his life growing up as a kid from the slums (or ‘slumdog’ as some less than charitable characters in the film put it) and his desire to find the true love of his life (Frieda Pinto).

Boyle and his cinematographer Anthony Dod Mantle don’t shy away from the poverty of the slums in the film and some might be a bit taken aback by some of the darker scenes (one early sequence had the woman next to me squirming), but at the same time there is a tremendous energy and humanity to the story.

India of the last 20 years is portrayed with a harsh sense of realism but what’s nice is that the characters and their story counterbalance this with an emotional warmth that is not only very affecting but mercifully free of easy sentiment.

Whilst the flashback structure takes a little while to really click, once the film gets going it really pays dividends, especially as it builds towards a gripping climax.

Another clever touch is the realistic portrayal of the Who Wants To Be A Millionaire show, complete with the right music and graphics which are expertly woven into the film and play a key part in how the story unfolds.

The cheesy tension of the TV show somehow has a new life here, with added meaning on the tense pauses and multiple choice questions.      

It is one of those films that is a little tricky to write about as I think audiences will enjoy it more if they go in to it not knowing too much. 

But this could be a genuine hit amongst a wide cross section of people – it cleverly mixes serious social commentary with a classical tale of lost love and the warm ripple of applause I heard at the end (rare for a press screening) indicates that it will have excellent  word of mouth.

It will be interesting to see how it does in India as it stars two big Bollywood stars (Anil Kapoor and Irrfan Khan) in key roles and may do some serious business over there. 

Credit must also to Tessa Ross at Film Four for acquiring the rights and getting Boyle and Beaufoy on board as the non-UK setting and story appears to have given both of them a creative shot in the arm.

I remember seeing Juno last year at the London Film Festival and thinking it would do very well. After showing at Telluride and being released by Fox Searchlight (perhaps the savviest studio at working the awards season) it went on to be a huge success.

Similarly, Slumdog Millionaire also premiered to rave reviews at Telluride before being acquired by Fox Searchlight – they’ll release it in the US in a couple of weeks whilst Pathe will be distributing it in the UK. 

It might not do the same kind of business as Juno but this looks set for similar buzz, which is richly deserved as it is one of the most uplifting films to come out this year.

Slumdog Millionaire opens in the US on November 14th and in the UK on Friday 23rd January 2008

> Official site for the London Film Festival
> Official US site for Slumdog Millionaire at Fox Searchlight
> /Film with more photos from the film
> Listen to our full interview with Danny Boyle from April 2007 about Sunshine

Categories
Festivals London Film Festival

LFF 2008: Day 10

BFI Southbank

Today was more of a quiet day in which I finally caught up with a film that had been eluding me for about a week. 

It is a French drama called The Class which I was meant to see last Saturday when it had a press screening before it had it’s gala screening in the evening. 

But it didn’t happen as I was pretty tired after the Quantum of Solace screening on the Friday night.

Anyway, one of the handy things about the Delegate Centre at the BFI Southbank is that journalists can catch up with films on screener discs, which you watch on nice, widescreen monitors.

It is a little bit like a library and although I always prefer watching films on the big screen, with so much going on it can prove a very handy way of catching up with films you would otherwise miss out on.

Anyway, the film itself is the deceptively simple tale of a French teacher (François Bégaudeau) at a state school in Paris.

The actual French title is Entre Les Murs, which translates as ‘Between the walls’ which is apt as the film never (apart from one shot at the beginning) strays outside the confines of the school.

It is adapted from the 2006 novel of the same name by Bégaudeau, which in turn was based on his own real life experiences teaching in a Paris school.

Directed by Laurent Cantet it scooped the Palme D’Or at Cannes earlier this year and is a rich and deeply satisfying film.

Not only does it scrupulously avoid the cliches that can dog films set inside schools but it manages to offer a plausible snapshot of modern French society by focusing tightly on a class of pupils and the people that teach them.

Although it is shot in the widescreen aspect ratio of 2:35, the camera hangs tight on each character and never really gives us a look at the French city landscape.

Although this might sound claustrophobic, it makes the lessons and world inside of the school (the staff room, the corridors, the playground) all come alive.

The performances are uniformly excellent – especially from BĂ©gaudeau and a very special cast of non-professional teenagers – but the film also has a tremendous sense of humanity to it without ever slipping into cheap sentiment.

This is one of those rare films that touches the heart whilst engaging the brain – a gem that I would urge anyone to go and see when it gets released in the UK.

>  The Class at the IMDb
> BBC News report on the win at Cannes in May

Categories
Festivals London Film Festival

LFF 2008: Day 9

Today was another busy day in which I spoke to a couple of directors with films showing at the Festival and saw another film in the evening.

A combination of a cold that simply will not go away and a sore neck (I somehow managed to strain it a couple of days ago) has made walking around town and even watching films a little painful. 

But despite all this, it was an interesting day and the two directors were behind two excellent films with intriguing subjects.

In the morning I went up to a members club in Soho where I met up with Mark Hartley, the director of Not Quite Hollywood, a documentary about the wave of Australian exploitation cinema that flourished in the 1970s.

He was a very funny and engaging guy to talk to and made light of the numerous noises that plagued the drawing room we spoke in.

Not only was there the ubiquitous police sirens that routinely plague Soho, but at one point there was a knocking on the walls and door so persistent that I though Jack Nicholson was going to burst in with an axe.

His film is a real gem – a very energetic and engaging documentary that I think will get a great response at the festival and generate good word of mouth.

It features a lot of hilarious footage from some films of the time – some of them which beggar belief – but also makes some interesting points about Aussie culture as well.

At lunch time I went to one of my favourite bars in town to flick through the day’s papers, especially The Times which (as you might expect) was full of W. coverage.

You can listen to the full interview with Mark here.

Cover of The Times

The newspaper is the sponsor of the festival and last night’s premiere was also The Times gala screening (each big premiere at the festival has it’s own sponsor). 

I liked the film although some of the people I have spoken to about it have been decidedly mixed in their reaction.

Part of the problem is that Bush has been in everyone’s face for the last 8 years and I think there is a certain amount of fatigue over the 43rd US president.

That said, it is interesting to note that since the US primaries began in January he has effectively been a ghost figure overshadowed by the extraordinary presidential campaign.

In fact, I wonder if in future Oliver Stone would be tempted to make a film about these primaries as they have been filled with great characters, had a gripping narrative and also revealed much about America as a country.

Maybe the problem the film has had in the US is that it can’t cover the almost unbelievably dramatic real events of the last year, including the current financial meltdown – surely the final nail in the coffin of the Bush era.

Despite all this I thought W. was a brave piece of film-making.

Although it would have been easy to take cheap shots at Bush it explored his life through the lens of the build up to Iraq in a way that was both thoughtful and engaging.

It charted at number four in the US box office last week (it appears more people were interested in seeing a talking dog) but I suspect it will do better in foreign territories.

One of the massive advantages of bar I was in was that it has free and easy wifi, which is surprisingly difficult to find in London.

Laptop

No horrible BT OpenZone login nonsense or failed connections, just a popup window saying you’re online. Perfect.

This is part of the reason I frequent this place so much and use it as my de facto office in town. Other establishments please note.

I edited and uploaded my Mark Hartley interview on to my laptop before heading off down to a hotel in central London where a lot of the interviews for the festival are taking place.

For some of the bigger films a PR company or the distributor will arrange a press junket where different media outlets go along and chat with the cast and/or director for an allotted period of time.

For some of the smaller films at the festival with a smaller PR budget the filmmakers hook up with journalists a designated spot at the bar of the hotel.

It’s a bit like speed dating as you pick who you want to talk to and then move on to the next table.

In the afternoon though I met up with the director Ari Folman who is the man behind Waltz With Bashir, one of the key gala screenings at this year’s festival.

The film is really quite something, a startling animated documentary dealing with Ari’s own struggle to remember his experiences as an Israeli soldier in Lebanon during September 1982.

He was a very interesting man to speak to, not only because he directed the film but because it is actually about his own experiences.

I asked him a bunch of questions about the style of the film and how he realised them on screen and also about how the film was received in Israel.

Despite the fact that the film deals with some shocking subject matter – culminating in the Sabra and Shatila massacre which saw thousands of Palistinean refugees slaughtered by Lebanese miltitia whilst Israeli troops turned a blind eye – he told me that the reception has been very good.    

The film is really quite unique in that it combines many disparate elements – history, politics, animation, music, interviews and the documentary form – to brilliant effect.

I hope it gets a wider audience than just the arthouse circuit as the timely anti-war themes are  complemented beautifully by the groundbreaking animation.

Later in the evening I went to a screening of The Baader Meinhoff Complex which details the terrorist movement that gripped West Germany in the late 60s and 1970s.

It focuses on the Red Army Faction, the left-wing militant group formed by radicalised children of the Nazi generation, who fought an international terrorist campaign opposing American imperialism and the German establishment throughout the 1970s.

At two and a half hours long it is a farily gruelling story, but given the current political and social turmoil of the present decade it makes for interesting viewing to say the least.

I should be speaking with some of the cast and crew on Monday, so I’ll write more about it then, but it screens at the festival on Sunday and Tuesday.

> Interview: Mark Hartley on Not Quite Hollywood
> Ari Folman at the IMDb
> The Baader Meinhoff Complex at the LFF site

Categories
Cinema Festivals Interviews London Film Festival

Interview: Toa Fraser on Dean Spanley

Dean Spanley is a new film based on the novella by Irish author Lord Dunsany.

Set in the Edwardian era it is the story of a father (Peter O’Toole) and son (Jeremy Northam) who attend a lecture by a visiting Hindu Swami (Art Malik).

There they encounter Dean Spanley (Sam Neill), with whom, after a series of chance encounters, Henslowe strikes up an unlikley friendship.

It screened at the London Film Festival last Friday and I spoke to the director Toa Fraser earlier that afternoon.

You can listen to the interview here:

[audio:http://filmdetail.receptionmedia.com/Toa_Fraser_on_Dean_Spanley.mp3]

You can also download it as a podcast via iTunes by clicking here.

Dean Spanley is out at UK cinemas on December 12th 2008

> Download this interview as an MP3 file
> Dean Spanley at the IMDb
> Toa Fraser at the IMDb
> Rotten Tomatoes UK visit the set

Categories
Festivals London Film Festival

LFF 2008: Day 7

LFF Delegate Centre

Today was one of those days when you realise you can’t be everywhere at once. 

With so many films on, you have to choose between making a screening, doing an interview or just catching up with stuff.

So instead of going the press show of Michael Winterbottom‘s new film Genova, I spoke with actor Liam Cunningham about Hunger, the new drama about Bobby Sands and the IRA hunger stike of 1981.

Directed by Turner prize-winning artist Steve McQueen it is one of the highlights of this festival and the most arresting debut I’ve seen in a long time.

Liam plays Father Moran, the priest who tries to talk Sands (Michael Fassbender) out of his hunger strikeand although he only appears in one scene, it is an extraordinary 17 minute sequence all done in once take.

We spoke about how they filmed this and other aspects of the movie such as its recent premiere in Belfast. 

Apparently it holds the world record for the longest single take for a single scene (although I’m not sure how this compares to Russian Ark in which the whole film was one take).

I’ll put the interview up next week when the film gets it’s UK release. Although a tough film to watch, it contains some of the most accomplished film-making you’re likely to see this year.

In the afternoon I headed over to the Delegate Centre at the BFI Southbank, which is where accredited journalists, filmmakers and industry folk go to catch up on things.

Aside from catching up on the latest issues of Variety and Screen International you can meet other people there and even watch a selected list of the films showing at the festival on DVD.

Just a reminder, if you are at the festival or are interested in any of the films or events going on, then drop me an email and I can write a post about it.

> Previous posts about Hunger
> Liam Cunningham at the IMDb
> Article in The Times about the 17 minute sequence in Hunger
> BFI Southbank

Categories
Festivals London Film Festival

LFF 2008: Day 6

This morning I went to the press screening of Waltz With Bashir which is showing at the Centrepiece Gala on Friday.

It deals with the 1982 Sabra and Shatila massacre and the memory of the Israeli soldiers involved in the invasion of Lebanon in the early 1980s. 

Directed by Ari Folman, it examines his own experiences on that mission and the struggle to remember what happened when he interviews various army colleagues from the time.

The strange title is taken from a scene with one of Folman’s interviewees, who remembers taking a machine gun and dancing an ‘insane waltz’ amid enemy fire, with posters of Bashir Gemayel lining the walls behind him.

Gemayel was the Lebanese president who whose assassination helped trigger the massacre.  

The most unusual and startling aspect of the film is that it is animated, an unconventional approach for what is essentially a documentary.

Although very different in theme and tone to Creature Comforts it appears to adopt the same device in which real conversations are animated and stylised. 

A hugely ambitious film, it took four years to complete and is and international co-production between Israel, Germany and France.

Back in May it premiered to huge acclaim at Cannes and was one of the front runners to win the Palme d’Or. 

Much of that praise is richly deserved because this is an arresting and highly original film.

It deserves particular credit for taking a highly politicised and contentious event and yet somehow makes a wider point about the futility of war whose relevance is not just confined to the cauldron of the Middle East.

Another aspect which makes this story so intrguing is that the Israeli troops were not guilty of the massacre itself but of standing by and letting Lebanese miltia murder Palestinian refugees. 

It is the memory of, or rather the inability to remember, this event that lies at the core of the story. Has Folman unconsciously blocked out the memory? Does guilt cloud any rational perspective? 

The raw power of the source material is enhanced by some extraordinary imagery, with a remarkable and inventive use of colour for certain sections, especially those involving the sea.

Added to this is Folman’s narration which has an almost hypnotic effect when set alongside the visuals, almost as if the audience is experiencing a dream whilst watching the film itself. 

The film won 6 Israeli Film Academy awards (including Best Picture) and looks likely to be a strong contender for the Best Foreign Film at the Oscars.

It might seem like a strange film to make about such a serious subject but it’s surreal approach only makes the horrors of war seem all too real. 

This is the trailer:

 

Waltz With Bashir screens at the festival on Friday and opens in the UK on Friday 21st November

> Official site
> Waltz With Bashir at the IMDb
> Reviews of the film from Cannes back in May

Categories
Cinema Festivals London Film Festival

LFF 2008: Day 5

Today there was a Time Out gala screening of Hunger which is one of the highlights of this year’s London Film Festival. 

It is the debut feature film of artist Steve McQueen and explores the 1981 IRA hunger strike, one of the key episodes of The Troubles in Northern Ireland.

This involved a group of IRA prisoners in the Maze led by Bobby Sands go on a protracted hunger strike in order to pressurize the British government to recognise them as political prisoners.

What is interesting is the way the film explores the hellish physical and mental toll this took on the prisoners and guards at the Maze prison.

I didn’t feel I was being lectured to about the wider politics of the Troubles, but rather being forced to confront the sharp end of the conflict as well as the lengths humans will go to in extreme situations.

There are some remarkable performances: Michael Fassbender as the stubborn and  obsessive Sands, Liam Cunningham as the priest who questions the strike and Stuart Graham as a prison guard are just some of the excellent performers who don’t sound a single false note.

Although when it screened at Cannes earlier this year, there were the usual dumb headlines about a ‘controversial’ film about the IRA, but you shouldn’t be put off by the historical context.

Although the modern history of Northern Ireland has inspired some woefully misguided films (A Prayer for the Dying and The Devil’s Own spring to mind), what’s interesting is that McQueen manages to takes inside the insane brutality of the conflict by focusing on the particular situation and environment inside the Maze.

Some sequences are tough to watch: the prison guards getting rough with inmates, the prisoners smearing their walls with excrement or two people simply debating the reasons for the hunger strike, but all are handled with an incredible amount of finesse and skill.

One scene in particular is stomach turning, but somehow all the more effective for showing the depths to which some sank during this period. 

It is not a partisan film, although it is fair to say that the focus is more on Sands, particularly the coda of the film which I think some have misread.

Within the confines of the prison – and some sequences outside – the chilling atmosphere of the time is brilliantly evoked through some superb widescreen lensing by Sean Bobbit.

The sound too is well crafted, with little in the way of a conventional score and a lot of effects coming from the prisoners themselves, particularly the banging from inside the cells which at certain points is overwhelming.

Despite the potential pitfalls that surround any film about The Troubles, this is an audacious work more in the tradition of Alan Clarke’s Elephant or Paul Greengrass’ Bloody Sunday – boldly intelligent examinations of a dark and complex conflict.  

I wrote about Hunger in greater detail after I saw it last month and since then I have heard McQueen express his sense of being an outsider coming into the British film industry from the art world.

On The Guardian’s Film Weekly podcast recently he told Jason Solomons:

I just wish there was more …passion with the film world here. 

Maybe people are too inhibited.

Maybe because I’m an outsider who came inside and I see how the house is operating and I think ‘bloody hell’.  

On the evidence of this film we need more passionate outsiders like Steve McQueen, because this is a stunning piece of work that deserves as wide an audience as possible.

Check out the trailer here:

 

Hunger opens in UK cinemas on October 31st

> Hunger at the LFF
> Official UK site for Hunger
> Steve McQueen at the IMDb

Categories
Festivals London Film Festival

LFF 2008: Day 3

BFI Southbank and IMAX

One of the nice things about the London Film Festival is that a lot of filmmakers are in town and today I spoke to Toa Fraser, who is the director of Dean Spanley, which screened tonight at the Odeon West End.

Set at the turn of the twentieth century and based on the novel by Baron Dunsany, it deals with a misanthropic old man (Peter O’Toole) who unexpectedly re-lives happy and painful memories thanks to the revels of a drunken curate (Sam Neill).

I’ll put the interview with Toa up on the site in the next 48 hours.

In the evening I saw the new Bond film Quantum of Solace, which aside from being one of the biggest films of the year is also having it’s first public showing as part of the festival on Wednesday 29th.

It might seem strange for such a commercial film to be part of a festival that showcases a diverse selection of films but from the organisers point of view it is a bit of a no-brainer.

Not only will the spotlight on a Bond world premiere help illuminate other parts of the festival, but the fact that 007 (like Harry Potter) is one of the few British cinema icons that connect to audiences on a global level.

The head of Sony Pictures UK (who are distributing the movie here) said before the film began that it was the first time anyone had seen it, so anticipation was high.

In many ways it delivered the goods with Daniel Craig’s more serious Bond working as well as it did in Casino Royale.

Although it looks good and will no doubt do great business at the box office, I do having a nagging doubt as to whether Marc Forster was the right director for this kind of material.

What’s odd about the film is that there seems to be more action than usual (even for a Bond film) but it’s a bit rushed and a lot of the set pieces lack the finesse and ingenuity of more contemporary rivals like The Bourne Ultimatum or The Dark Knight.

It is the character based sequences that actually work better, with the relationships between Bond, M (Judi Dench), Felix Leiter (Jeffrey Wright), Rene Mathis (Giancarlo Giannini) and Camille (Olga Kurylenko) portrayed with the kind of wit and subtley that might surprise some audiences.

Another aspect to the film that might attract some column inches is the rather dark – if entirely plausible – view of the United States as a cynical and amoral superpower. Even the British don’t escape unscathed with one scene appearing to hint at the Blairite acquiescence to the Bush administration in the war on terror.

For more thoughts on the film check out my post here.

Quantum of Solace screens at the festival next week before opening everywhere on October 31st.

Dean Spanley opens in the UK on December 12th

> Quantum of Solace and Dean Spanley at the LFF site
> My first thoughts on Quatum of Solace
> Toa Fraser at the IMDb

Categories
Festivals

LFF 2008: Synecdoche, New York

In the last decade Charlie Kaufman has become one of those rare screenwriters whose work has even overshadowed the directors he has worked with. 

This is quite a feat given that he has collaborated with Spike Jonze (on Being John Malkovich and Adaptation) and Michel Gondry (Human Nature and Eternal Sunshine of the Spotless Mind). 

However, it is fair to say that all those films bear certain recognisable tropes: ingenious narratives, surreal images and a tragi-comic view of human affairs.

It would also be fair to assume that his directorial debut would be similar, but Synecdoche, New York does not just bear token similarities to his previous scripts. 

In fact it is so Kaufman-esque that it takes his ideas to another level of strangeness, which is quite something if you bear in mind what has come before.

The story centres around a theatre director named Caden Cotard (Philip Seymour Hoffman) who starts to re-evaluate life after both his health and marriage start to break down. 

He receives a grant to do something artistically adventurous and decides to stage an enormously ambitious production inside a giant warehouse.

What follows is a strange and often baffling movie, complete with the kind of motifs that are peppered throughout Kaufman’s scripts: someone lives in a house oblivious to the fact that it is permanently on fire; a theatrical venue the size of several aircraft hangars is casually described as a place where Shakespeare is performed; and visitors to an art gallery view microscopic paintings with special goggles. 

But despite the oddities and the Chinese-box narrative, this is a film overflowing with invention and ideas. 

It explores the big issues of life and death but also examines the nature of art and performance – a lot of the film, once it goes inside the warehouse, is a mind-boggling meditation on our lives as a performance. 

Imagine The Truman Show rewritten by Samuel Beckett and directed by Luis Buñuel and you’ll get some idea of what Kaufman is aiming for here. 

I found a lot of the humour very funny, but the comic sensibility behind the jokes is dry and something of an acquired taste.

Much of the film hinges on Seymour Hoffman’s outstanding central performance in which he conveys the vulnerability and determination of a man obsessed with doing something worthwhile before he dies. 

The makeup for the characters supervised by Mike Marino is also first rate, creating a believable ageing process whilst the sets are also excellent, even if some of the CGI isn’t always 100% convincing. 

The supporting cast too is very impressive: Catherine Keener, Michelle Williams, Samantha Morton, Emily Watson, Hope Davis, Tom Noonan and Dianne Weist all contribute fine performances and fit nicely into the overall tone of the piece. 

Although the world Kaufman creates will alienate some viewers, it slowly becomes a haunting meditation on how humans age and die.

As the film moves towards resolution it becomes surprisingly moving with some of the deeper themes slowly, but powerfully, rising to the surface.

This means that although it will have it’s admirers (of which I certainly include myself) it is likely to prove too esoteric for mass consumption as it has a downbeat tone despite the comic touches.

Having seen it only once, this is a film I instantly wanted to revisit, so dense are the layers and concepts contained within it.

On first viewing it became a bit too rich at times for it’s own good. However, it isn’t often that filmmakers aim this high.

I certainly haven’t seen a film like this in years.

N.B. Apparently the first word of the title is pronounced “Syn-ECK-duh-kee”. 

The following video from Cannes back in May showed the confusion over how to pronounce it:

Synecdoche, New York screens at the London Film Festival on Tuesday 28th and Wednesday 29th October

* It opens in the US on October 24th in limited release but the UK release is TBA *

UPDATE 25/10/08: In an earlier version of this article I wrote that Judy Chin was in charge of makeup for this film but just to clarify, Mike Marino designed the ageing makeups whilst Judy was department head of the rest. (Thanks to Mike for getting in touch to point this out.) 

> Synecdoche, New York at the IMDb

> Watch the press conference at the official Cannes site
> Check out the reaction from Cannes about the film
Categories
Festivals

LFF 2008: Day 2

The London Eye and Big Ben

It was a bit of a muted day for me today as I am still trying to shake off a cold and had to catch up on some rest. 

However, nothing was going to stop me from the press screening this morning of Charlie Kaufman‘s directorial debut Synecdoche, New York. 

I’ve put up a more detailed post about the film here, but it really is a startling film that is going to spark off a thousand arguments about it’s meaning, overall quality and what the hell is going on in Kaufman’s head.

The plot involves a theatre director (Philip Seymour Hoffman) who moves his company to a warehouse where he attempts to create a life-size replica of New York as part of his new play. 

Catherine Keener, Michelle Williams, Samantha Morton and Hope Davis co-star. 

It gets a gala screening next week, so I’ll write more about it then but I’m sure that it will be a film talked about in years to come as either a work of genius or madness – perhaps even both.

The response at the screening was respectful to begin with and there were some laughs sprinkled throughout but as it went into a third act I sensed a weary sadness taking hold. 

That is part of the theme of the film, but also because it is actually dealing in some rather heavy duty subject matter towards the end despite the surreal ‘Kaufmaness’ of it all. 

I’m very keen to see it again as it is an extremely dense and layered film – some of the concepts are truly ingenious – and will probably grow with repeated viewing. 

One of the main gala screenings tonight was Rachel Getting Married, which is directed by Jonathan Demme.

It stars Anne Hathaway as an ex-model who has been in and out from rehab for the past 10 years, who returns home for the wedding of her sister Rachel (Rosemarie DeWitt).

There are some interesting and accomplished things about the film, notably the raw and loose shooting style Demme has opted for as well as two fine performances from Hathaway and DeWitt.

But despite the Oscar buzz surrounding it I was disappointed at the lack of any real drama and the insufferable nature of many of the conversations in the film. 

Emotions and thoughts are too easily verbalised and at it’s lower moments the film plays like an unofficial sequel to Margot at the Wedding – another wedding set film from last year which explored similarly tedious forms of middle class self loathing.

There is also a scene involving a dishwasher that is so interminable that I would have actually rather washed some dishes for the duration of it.

Debra Winger is also utterly wasted in a small role which made you wonder why they bothered casting her in the first place.  

That said I think Hathaway has a good shot at an Oscar nomination for her work here, even if the film itself is something of a disappointment. 

If you have been to the festival or want to discuss any of the films then do leave a comment below or email me.

> My full review of Synecdoche New York
> Rachel Getting Married at the IMDb
> Gala screenings at the LFF this year

Categories
Festivals

LFF 2008: Frost/Nixon

The film version of Peter Morgan‘s play about the Nixon interviews conducted by David Frost in 1977 made me a little nervous. 

As someone who was a huge admirer of the London stage production back in 2006, I had concerns that many of qualities that made it work so brilliantly on stage could be ironed out for the big screen.

However, it is to the film’s great credit that director Ron Howard and Morgan (who wrote the screenplay) have not only preserved the insight and charm of the play but made it work in a different medium. 

For those not familiar with the story, it explores how ambitious English talk show host David Frost (Michael Sheen) persuaded the disgraced former US president Richard Nixon (Frank Langella) to a series of taped interviews nearly three years after his resignation. 

They culminated in a dramatic admission by the 39th president that he had essentially betrayed his country. What is particularly interesting about Morgan’s version is the way it shows the incredible tensions and ironies behind the scenes of what is now a famous piece of television history. 

Whilst Nixon was resigning in August 1974, Frost was presenting a very light-hearted talk show in Australia – one sequence shows Nixon pondering Frost’s offer whilst the presenter himself is filming a low budget item in Sydney about an escapologist.

It also shows the window of opportunity opened up for Frost by the US media, who were reluctant to pay the former President for a news interview and felt that Frost was something of a lightweight when it came to asking the tough questions. 

All the major networks (CBS, NBC and ABC) turned Frost down and he was forced use some of his own money to finance the project. 

Professionally and personally he had a lot at stake and much of the script’s power comes from contrasting two men looking to reignite their careers in the form of these televised interviews. 

The stage version managed to brilliantly tease out the contradictions and characters of both men and Sheen and Langella were both outstanding in their roles. 

Thankfully Howard has managed to preserve the power of their portrayals and although conventional Hollywood wisdom would have been to cast bigger names, the decision to stick with the actors who knew these characters so well has proved to be absolutely correct. 

Sheen does a superb technical impression of Frost but also conveys the charm and drive that made the interviews happen, whilst Langella gets beneath the infamous veneer of  Nixon, showing us how formidable yet fragile he could be. 

The supporting cast are uniformly excellent: Matthew Macfadyen as John Birt, Oliver Platt as Bob Zelnick, Sam Rockwell as James Reston, Jr. and Kevin Bacon as Jack Brennan, all convince in their roles as key aides to the two central characters. 

Also notable is the vivid period feel, with the costumes and sets adding an all encompassing sense of realism that the theatre can’t quite provide.

With his cinematographer Salvadore Totino, Howard has also opted for a more intimate approach with the camera usually staying quite close to characters rather than giving us lots of establishing shots of the Californian setting.

It is worth noting that some liberties with actual events have been taken – Frost himself has highlighted that Nixon’s famous confessional answer didn’t come at the end of filming and that a crucial sequence prior to that never actually happened. 

Although this leaves some debate about Morgan’s approach to history, which he has achieved huge success with in recent years scripting The Queen and The Last King of Scotland, it does make for powerful drama as well as demonstrating how slippery remembering events can be.

It remains to be seen how this will do at the box office, but despite the high brow nature of the material, there is a surprisingly accessible quality on display here. 

The genial nature of Frost’s ambition and the politically incorrect tone to Nixon’s stubbornness help make both characters a compelling double act. 

What might seem like a dry, talky period piece is brought to life by the energy and charisma of the two performers. As they duel in front of the cameras about Vietnam and Watergate, they joust off it about Italian shoes, cheeseburgers and women. 

It is this surreal mix of the personal and political that lies at the heart of why the play and this film version work so well. 

In the fictionalized details of the Frost/Nixon interviews we can see the deeper truths about how the powerful abuse their position and how that is presented to the public who have been betrayed.

Frost/Nixon opens the London Film Festival tonight and is released in the UK on Friday 9th January and in the US on December 5th   

> Official site for Frost/Nixon
> Frost/Nixon at the IMDb
> The Times with a piece by director Ron Howard about making the film and an interview with David Frost about his verdict
> Find out more about Richard Nixon at Wikipedia
> Read a transcript from the interviews at The Guardian

Categories
Festivals Interviews Podcast

Interview: Eliot Grove on The Raindance Film Festival 2008

Eliot Grove is the founder and director of The Raindance Film Festival, which is the UK’s largest independent film festival.

He founded it in 1993 and since then it has premiered films such as Pulp Fiction, The Blair Witch Project, Capturing the Friedmans, Memento, and Oldboy.

The Raindance organisation also offers advice and support for independent filmmakers.

Although based in London they are open for anyone who might want to work with them in another city or country.

In addition, Eliot also helped start the British Independent Film Awards in 1998.

The current Raindance festival is currently on in London until October 12th and I recently spoke with Eliot about what’s been happening this year.

You can listen to the interview here:

[audio:http://filmdetail.receptionmedia.com/Eliot_Grove_on_The_Raindance_Film_Festival_2008.mp3]

You can also download it as a podcast via iTunes by clicking here.

For the full Festival programme go to www.raindance.co.uk

Tickets can be booked online at their site or by telephone on 0871 200 2000

Raindance.tv will host further exclusive material via www.raindance.tv with trailers and filmmaker interviews.

> Download this interview as an MP3
> Official Raindance site
> The British Independent Film Awards
> Join the Raindance Facebook group
> Eliot’s MySpace page

Categories
Festivals London Film Festival News

London Film Festival 2008: Lineup Announced

The full lineup for the 52nd London Film Festival has been announced.

Amongst the highlights are Frost/Nixon, Slumdog Millionaire, W., Quantum of Solace, The Class, Che (in two parts), Waltz With Bashir and Vicky Cristina Barcelona.

GALA SCREENINGS

Frost/Nixon (Opening Film): Ron Howard directs this adaptation of Peter Morgan’s play about the interviews David Frost (Michael Sheen) conducted with the disgraced Richard Nixon in 1977. Morgan adapted his own play and this could well be a heavyweight awards contender if it is anything like the highly acclaimed play.

W. (The Times Gala): Oliver Stone’s political biopic of George W. Bush which sees Josh Brolin play the outgoing US president. A highly impressive supporting cast includes Elisabeth Banks, Thandie Newton, Scott Glenn, Richard Dreyfuss, Toby Jones and James Cromwell as the film charts his extraordinary road from the black sheep of the Bush dynasty to the US presidency.

Genova (The Mayor of London Gala): Director Michael Winterbottom’s latest film is about a man (Colin Firth) who relocates to Italy with his two young daughters (Willa Holland and Perla Haney-Jardine) as he comes to terms with a family tragedy.

Waltz With Bashir (Centrepiece Gala): One of the most acclaimed films at Cannes earlier this year was this anti-war documentary. Director Ari Folman which uses animation to explore his own experiences in the Israeli Army during the first Lebanon War. Realising the limits of his own memory, he tracks down and interviews old friends and comrades in a politically charged study of innocence, memory and war.

Quantum of Solace (Film on the Square Gala): The 22nd James Bond film (which easily makes it the longest running franchise in film history) is directed by Marc Forster and sees Daniel Craig return as the legendary secret agent.  This film picks up the storyline just one hour after the end of Casino Royale, making this the first direct Bond sequel, as 007 fights the urge to make his latest mission personal.

The Other Man (Hewlett-Packard Gala): The latest film from award-winning theatre and film director Richard Eyre is about a husband (Liam Neeson) who suspects that his loving wife of 20 years (Laura Linney) may be cheating on him. Antonio Banderas and Romola Garai star in supporting roles

Vicky Cristina Barcelona (Sky Gala): Woody Allen’s latest sees him relocate to Catalonia with this tale of two US students Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) both fall for the charms of Latin seducer Juan Antonio (Javier Bardem). Things are further complicated when his tempestuous ex-wife (Penelope Cruz) re-enters the scene.

The Brothers Bloom (American Airlines Gala): Writer-director Rian Johnson (who made the startling debut Brick in 2006) has assembled an impressive cast for a comedic twist on the heist movie. Brothers Stephen (Mark Ruffalo) and Bloom (Adrien Brody) are expert swindlers still searching for the perfect con, who lure an eccentric heiress (Rachel Weisz) into their elaborate scheme.

Easy Virtue (MasterCard Gala): Australian director Stephan Elliott revisits Noel Coward’s social comedy, retaining the 1920s setting, whilst giving it a modern feel. It is about a young aristocrat (Ben Barnes) who impulsively marries a glamorous and sexy American (Jessica Biel), which leads to a culture clash. The ensemble cast also includes Kristin Scott Thomas, Colin Firth and Kris Marshall.

Che [Part 1 & Part 2] (Tiscali Gala): Stephen Soderbergh’s biopic of Cuban revolutionary Che Guevara (Benicio del Toro) is screened in two parts. The first chronicles his rise from doctor to successful revolutionary and the second deals with his attempt to orchestrate the great Latin American revolution.

The Class (Sight & Sound Special Screening): The winn er od the Palme D’Or at this year’s Cannes Film Festival is an adaptation of François BĂ©gaudeau’s novel Entre les Murs, which is based on his experiences working in a school in Paris. BĂ©gaudeau himself plays a committed teacher attempting to reach out to his pupils through language and literature.

Hunger (Time Out Special Screening): Turner Prize-winning artist Steve McQueen ventures into film making with this drama about the 1981 IRA Hunger Strike led by Bobby Sands. Michael Fassbender plays Sands, whilst Stuart Graham and Liam Cunningham star in supporting roles.

Gonzo: The Life and Work of Dr. Hunger S. Thompson (Documentary Gala): ‘Gonzo’ journalist Hunter S. Thompson is the latest subject for documentary filmmaker Alex Gibney, who uses a wealth of archive footage and high-profile interviewees such as Tom Wolfe and Jimmy Carter, to paint a fascinating portrait of the counterculture icon. Johnny Depp (who played Thompson in Terry Gilliam’s adaptation of Fear and Laothing in Las Vegas back in 1998) narrates along with extracts from Thompson’s work.

The Secret of Moonacre (Family Gala): Based on the popular children’s novel The Little White Horse by Elizabeth Goudge, director Gabor Csupo’s latest offering follows Maria Merryweather (Dakota Blue-Richards), an orphan who inherits a book that provides a key to a past world and may answer the riddles of Moonacre Manor. With supporting performances from Ioan Gruffudd and Juliet Stevenson.

Slumdog Millionaire (Closing Night Film): Danny Boyle directs this true life tale of a poor teenager in Mumbai who goes on the Indian version of Who Wants to Be a Millionaire? in order to find his true love. It has already got rave reviews at the Telluride and Toronto film festivals and looks like an early awards contender.

FILMS ON THE SQUARE

These are the other notable films from around the world that will be screening in cinemas in Leicester Square during the festival.

24 City (Ershisi Cheng Ji) (Dir. Jia Zhangke / China)
Achilles And The Tortoise (Dir. Takeshi Kitano / Japan)
Adoration (Atom Egoyan / Canada)
American Teen (Dir. Nanette Burstein / USA)
Anvil! The Story Of Anvil (Sacha Gervasi / USA)
The Baader Meinhof Complex (Dir. Uli Edel / Germany)
Ballast (Dir. Lance Hammer / USA)
A Christmas Tale (Dir. Arnaud Desplechin / France)
Dean Spanley (Dir. Toa Fraser / UK, New Zealand)
Il Divo (Dir. Paolo Sorrentino / Italy)
Frozen River (Dir. Courtney Hunt / USA)
The Good, The Bad, The Weird (Dir. Kim Jee-Woon / South Korea)
Hamlet 2 (Dir. Andrew Fleming / USA)
Heart Of Fire (Dir. Luigi Falorni / Germany & Austria)
Incendiary (Dir. Sharon Maguire / UK)
Johnny Mad Dog (Dir. Jean-Stéphane Sauvaire / France, Belgium & Liberia)
Lake Tahoe (Dir. Fernando Eimbcke / Mexico)
Let’s Talk About The Rain (Dir. Agnùs Jaoui / France)
Lion’s Den (Dir. Pablo Trapero / Argentina)
Nick And Norah’s Infinite Playlist (Dir. Peter Sollett / USA)
Of Time And The City (Dir. Terence Davies / UK)
A Perfect Day (Dir. Ferzan Ozpetek / Italy)
Quiet Chaos (Dir. Antonello Grimaldi / Italy)
Rachel Getting Married (Dir. Jonathan Demme / USA)
Religulous (Dir. Larry Charles / USA)
The Secret Life Of Bees (Dir. Gina Prince–Bythewood / USA)
The Silence Of Lorna (Jean – Pierre & Luc Dardenne / Belgium, France & Italy)
Sugar (Dir. Anna Boden, Ryan Fleck / USA)
Surprise Film
Synecdoche New York (Dir. Charlie Kaufman / USA)
Three Blind Mice (Dir. Matthew Newton / Australia)
Three Monkeys (Dir. Nuri Bilge Ceylan / Turkey, France & Italy)
Tokyo! (Dir. Michel Gondry, Leos Carax, Bong Joon–Ho / France, Japan)
Tulpan (Dir. Sergey Dvortsevoy / Russia)
Two Lovers (Dir.  James Gray / USA)
Tyson (Dir. James Toback / USA)
The Warlords (Dir. Peter Chan / China)
Wendy & Lucy (Dir. Kelly Reichardt/ USA)

For a full list of films showing at the festival go to the official LFF website.

> The Times report on this year’s lineup
> Official LFF website
> Check out our reports from last year

Categories
Festivals London Film Festival News

Slumdog Millionaire to close the London Film Festival

Slumdog Millionaire will be the closing film at this year’s London Film Festival.

Directed by Danny Boyle, it is the story of a streetkid from Mumbai (Dev Patel) who goes on the Hindi version of Who Wants to Be a Millionaire?.

I spoke to Danny last year and he told me a bit about the story, which you can listen to here:

[audio:Danny_Boyle_on_Slumdog_Millionaire_back_in_April_2007.mp3]

[ad]

The film recently received a lot of buzz and critical acclaim at the Telluride Film Festival and looks like an early awards season contender.

It will screen this week at the Toronto Film Festival and opens in the US on November 28th.

A UK release is expected for early 2009.

This is a clip from the film:

Here is the official press release:

London – Wednesday 3 September: The Closing Night Gala of The Times BFI 52nd London Film Festival will be the European Premiere of Danny Boyle’s SLUMDOG MILLIONAIRE.

SLUMDOG MILLIONAIRE is the story of Jamal Malik, an 18 year-old orphan from the slums of Mumbai, who finds himself  just one question away from winning a staggering 20 million rupees on India’s ‘Who Wants To Be A Millionaire?’.

Arrested on suspicion of cheating, Jamal tells the police the incredible story of his life on the streets, and of the girl he loved and lost. But what is a kid with no interest in money doing on the show? And how does he know all the answers?

When the new day dawns and Jamal returns to answer the final question, the police and sixty million viewers are about to find out 
 Dev Patel (Skins) stars alongside an all-Indian cast including Anil Kapoor, Irrfan Khan, Madhur Mittal and Freida Pinto in this uplifting drama set and shot in India.

SLUMDOG MILLIONAIRE was adapted for the screen by OscarÂź-winning writer Simon Beaufoy (THE FULL MONTY) from the bestselling novel Q and A by Vikas Swarup.

The film was produced by Christian Colson and Executive Producers Tessa Ross and Paul Smith, with cinematography from Boyle’s regular collaborator Anthony Dod Mantle (28 DAYS LATER).

Pathé Distribution will release the Film4 funded film in the UK in early 2009 and Pathé International is handling international sales.

In addition to bringing the Festival’s 16 day celebration of cinema to a close, Danny Boyle will give a career interview as part of the Tiscali Screen Talks series.

Sandra Hebron, the Festival’s Artistic Director comments: ‘We’re thrilled to be closing our Festival with this latest film from one of the UK’s most talented and versatile directors. Pulling together a wealth of talent from two continents to tell this moving and truly contemporary tale, SLUMDOG MILLIONAIRE will bring this year’s Festival to a vibrant and cheering close.’

On having his film invited to close the London Film Festival, Danny Boyle comments: “I am delighted that the film will receive its European premiere at the London Film Festival. I hope that Londoners will respond to this story about another great megatropolis – Mumbai, “the Maximum City”.’

The full programme for The Times BFI 52nd London Film Festival will be announced next Wednesday (10th September).

The London Film Festival runs from 15-30 October 2008

> Official site for the London Film Festival
> Official US site for Slumdog Millionaire at Fox Searchlight
> /Film with more photos from the film
> Listen to our full interview with Danny Boyle from April 2007 about Sunshine

[Photo Credit: Ishika Mohan / TM and © 2008 Fox Searchlight / All rights reserved.]

Categories
Festivals Reviews

Venice 2008 Reactions: Burn After Reading

The Venice Film Festival kicked off last night with the new Coen Brothers film Burn After Reading.

It is a comedy about two Washington gym employees (Brad Pitt and Frances McDormand) who stumble across a disk of sensitive material written by a disaffected CIA analyst (John Malkovich).

The supporting cast includes George Clooney, Tilda Swinton, Richard Jenkins and J.K. Simmons.

After the Oscar winning triumph of No Country For Old Men, have the Coens created another modern classic?

Here is a summary of the critical reaction from the festival, which is fairly mixed:

Todd McCarthy of Variety is distinctly unimpressed:

After their triumphant dramatic success with “No Country for Old Men,” the Coen brothers revert to sophomoric snarky mode…

…the short, snappy picture tries to mate sex farce with a satire of a paranoid political thriller, with arch and ungainly results.

A seriously talented cast has been asked to act like cartoon characters in this tale of desperation, mutual suspicion and vigorous musical beds, all in the name of laughs that only sporadically ensue.

Kirk Honeycutt of The Hollywood Reporter is more positive:

It takes awhile to adjust to the rhythms and subversive humor of “Burn” because this is really an anti-spy thriller in which nothing is at stake, no one acts with intelligence and everything ends badly.

As a follow-up to last year’s multiple-Oscar winner “No Country for Old Men,” Joel and Ethan Coen clearly are in a prankish mood, knocking out a minor piece of silliness with all the trappings of an A-list studio movie.

Those who relish this movie might treat it as the second coming of “The Big Lebowski”; those who don’t might wonder at a story in which no character has a level head.

David Gritten of The Daily Telegraph is even more enthused:

The end result will probably not mean a return night out to the Academy Awards for anyone involved, yet Burn After Reading is a terrific entertainment: fast-paced, inventive and relentlessly amusing.

The Coens have taken a sledgehammmer to the notion, advanced in film after film, that espionage is a business pursued by grim-faced people blessed with total competence.

Andrew Pulver of The Guardian also admires the film with a couple of reservations:

Burn After Reading is a tightly wound, slickly plotted spy comedy that couldn’t be in bigger contrast to the Coens’ last film, the bloodsoaked, brooding No Country for Old Men.

Burn, in comparison, is bit of a bantamweight: fast moving, lots of attitude, and uncorking a killer punch when it can.

Burn After Reading may also go down as arguably the Coens’ happiest engagement with the demands of the Hollywood A-list – but this bit of career development may also be contributing to a diminishing of their particular film-making strengths. Or perhaps they are simply evolving.

Richard Corliss of Time bravely admits to being baffled by the film:

The ultimate question, from this admirer of virtually all the brothers’ work, from the early Blood Simple and Miller’s Crossing to their previous Clooney collaborations O Brother, Where Art Thou? and Intolerable Cruelty, is a plaintive “What the heck kind of film is this?”

… The movie’s glacial affectlessness, its remove from all these subpar schemers, left me cold and perplexed.

…Either the Coens failed, or I didn’t figure out what they’re attempting.

Burn After Reading is a movie about stupidity that left me feeling stupid.

Wendy Ide of The Times liked the details but felt it needed more warmth:

The attention to detail is impeccable: the Coens can even raise a laugh with something as simple as a well-placed photograph of Vladimir Putin…

If the film does lack something, it’s warmth. The affection you felt from the Coens for the misguided fools in Fargo or Raising Arizona is lacking here for everyone except Jenkins’ hapless and hopelessly love sick gym manager.

And while the film carries the audience with its entertaining, if somewhat ludicrous, blend of high level espionage and ab-toning exercises, it would perhaps be more rewarding if we could like the characters as well as laugh at them.

Dave Calhoun of Time Out praises it as both goofy and insightful:

Unwittingly, the Coens have delivered the most convincing argument I’ve heard yet against 9/11 being a US government conspiracy – and there are a lot more laughs here than in your average neocon documentary.

All in all, it’s a treat to see such a good cast messing around with comedy material that’s both goofy and insightful.

Burn After Reading will have its North American premiere at the Toronto Film Festival on September 5th before opening in the US on September 12th and coming out here in the UK on October 17th.

> Burn After Reading at the IMDb
> Find out more about The Coen Brothers at Wikipedia
> Check out the trailer for Burn After Reading

Categories
Festivals News

Venice Film Festival 2008 – Lineup Announced

The official lineup for the 65th Venice Film Festival has been announced.

Organised by the Venice Biennale, it will start on Wednesday 27th August and run until Friday 6th September.

Here are the films showing in and out of the official competition:

IN COMPETITION

OUT OF COMPETITION

For the rest of the events and more details on the festival visit the official site.

> Official site of the 65th Venice Film Festival
> More on the festival lineup at Screen Daily
> Find out more about the history of the festival at Wikipedia

Categories
Festivals News

Frost/Nixon to open the 52nd London Film Festival

Frost/Nixon, the film version of Peter Morgan’s play about the famous TV interviews between David Frost and Richard Nixon, will open this year’s London Film Festival on Wednesday 15th October.

Directed by Ron Howard and produced by Brian Grazer and Working Title, it sees both principals reprise their West End and Broadway roles as Michael Sheen returns as Frost and Frank Langella as Nixon.

The supporting cast includes Kevin Bacon (Jack Brennan), Oliver Platt (Bob Zelnick), Sam Rockwell (James Reston Jr.), Rebecca Hall, Toby Jones (Swifty Lazar) and Matthew Macfadyen (John Birt).

Set during the summer of 1977, the interviews between Frost and Nixon became a huge TV event as over 45 million viewers tuned into to see what their disgraced former leader had to say about his role in the Watergate affair.

Sandra Hebron, the Festival’s Artistic Director says:

“We’re delighted to be opening our festival with this fascinating study of a unique moment in cultural and political life. Engrossing and entertaining by turns, and brilliantly performed, it is a film with strong London links and a perfect opener for this year’s festival.”

Screenwriter and executive producer Peter Morgan notes:

“I’ve been so fortunate with FROST/NIXON, working with two world-class directors in theatre and film and watching two lead actors at the top of their games. Now, having the film premiere at my hometown just completes a thrilling, fairy-tale ride for me.”

On behalf of Working Title, producer Eric Fellner added:

“We are thrilled to open the London Film Festival with FROST/NIXON, and it is entirely appropriate as London is where the journey began for all of us when we saw and were enthralled by the original play when it opened here in August 2006.”

Imagine Entertainment’s Ron Howard and Brian Grazer concluded:

“We take great pride in documenting the lives of those who have changed our world. What David Frost and Richard Nixon said and did in their series forever altered public perception of authority figures and the media’s role in interviewing them.

We are honoured that the London Film Festival is allowing Imagine and Working Title to open its festival by showcasing our story of these two men and their stunning display of truths.”

I remember seeing the play in the West End back in November 2006 and was riveted by how it explored the tensions behind the scenes, the negotiations that were struck over what could be asked, the motivations of the two principals (in many ways Frost had as much at stake as Nixon) and how it brilliantly weaved history with informed speculation.

It is good to see Sheen and Langella return for the film version as both gave knockout performances on stage – Sheen in particular gave one of the most impressive portrayals I have ever seen in a live theatre.

The film version – if it delivers the goods – looks like an end-of-year awards contender.

Frost/Nixon will open the London Film Festival on Wednesday 15th October, opens in the US on 5th December (in limited release) and in the UK on January 9th 2009.

> Official site of the London Film Festival
> Frost/Nixon at the IMDb
> Gareth McLean of The Guardian interviews David Frost back in August 2006
> New York Times review of the Broadway production
> Find out more about Watergate at the Washington Post

Categories
Cannes Festivals News

Cannes 2008: The Winners

This is director Laurent Cantet with a group of Paris junior high school students after The Class won the Palme d’Or award last night at the 61st Cannes film festival.

Here are the winners in full:

IN COMPETITION

UN CERTAIN REGARD

CINEFONDATION

> Official site of the festival
> Listen to the winners press conference
> Reviews of the festival from BBC News, Reuters, The Guardian and the New York Times

(Photo Credit: EPA/Guillaume Horcajuelo

Categories
Cannes Festivals News

Cannes 2008: The Class wins the Palme d’Or

The winner of this year’s Palme d’Or at the Cannes Film Festival is The Class (the French title is ‘Entre les Murs’).

In typical Cannes style, the favoured films (Waltz with Bashir, Che, Gomorrah) lost out to an underdog and this is also the first time since 1987 that a French film (Maurice Pialat’s Under the Sun of Satan, in case you were wondering) has won the top prize at Cannes.

Directed by Laurent Cantet, it is the story of a teacher in a tough Paris school based on an autobiographical novel by Francois Begaudeau (who plays himself in the film) about his life as a young teacher.

Sean Penn, as head of the nine-member jury, said:

It is an amazing, amazing film. It was our second unanimous decision.

Here are some critical reactions to the film, which screened quite late in the festival.

Justin Chang of Variety thought it was substantive and entertaining:

Talky in the best sense, the film exhilarates with its lively, authentic classroom banter while its emotional undercurrents build steadily but almost imperceptibly over a swift 129 minutes.

One of the most substantive and purely entertaining movies in competition at Cannes this year, it will further cement Cantet’s sterling reputation among discerning arthouse auds in France and overseas.

A.O. Scott of the New York Times praises the ‘freshness and precision’:

The film, Mr. Cantet’s fourth feature, concerns a young teacher dealing with a tough class in an urban high school.

It’s hardly a new idea for a movie — from “To Sir With Love” to “Dangerous Minds” and beyond, Hollywood has always had a soft spot for melodramas of pedagogical heroism — but Mr. Cantet attacks it with freshness and precision, and without a trace of sentimentality.

Mike Goodridge of Screen Daily says it offers a ‘rich microcosm’ of today’s French society:

The film focuses tightly on the dynamics and concerns of the classroom, never straying into details of the lives of kids or adults outside.

Yet even though it takes place entirely “entre les murs”, it offers a rich microcosm of today’s multi-ethnic French population and fascinating insights into the complicated dil emma s and misunderstandings which teaching – and indeed learning – can entail.

Geoff Andrew of Time Out thinks it is ‘engrossing’, ‘lucid’, ‘subtle’ and ‘thought provoking’:

Everything rings absolutely true in this film, and everything is utterly engrossing from start to finish, despite the apparent lack of a straightforward narrative during the first hour.

At the end, in a delightfully unexpected allusion to Plato’s ‘Republic’, the filmmakers drop a hint as to what they’ve been up to; there are no easy answers proffered to the various questions raised about education, schools and society, but the film makes for admirably lucid, subtle and thought-provoking drama throughout.

And the kids are terrific.

Artificial Eye have bought the UK rights to the film.

Here is the trailer (in French):

> Official site of the Cannes Film Festival
> BBC News report on the win
> Variety reports on the brisk sales of the film
> The Class at the IMDb
> Green Cine with the rest of the Cannes winners

Categories
Cannes Festivals

Cannes 2008: Palme d’Or Predictions

In just a couple of hours Sean Penn will announce which film has won the Palme d’Or at this year’s Cannes Film Festival.

Red Carpet at the Palais

Predicting what will win is extremely difficult.

Not only do you have predict the tastes of the jury (not easy in itself) but you also have to factor in the various compromises amongst the different members as they settle upon a winner.

Penn in the opening press conference said:

When we select the Palme d’Or winner, I think we are going to feel very confident that the film-maker who made the film is very aware of the times in which he or she lives.

With that in mind, here is a run through of the contenders and why they may – or may not – win the big prize?

  • Adoration (Dir. Atom Egoyan): Although Atom Egoyan has done some remarkable work in the past (Exotica and The Sweet Hereafter), his last couple of films have struggled with audiences and critics. His latest didn’t exactly set Cannes alight and seems unlikely to have a chance.
  • Blindness (Dir. Fernando Meirelles): The opening night film was something of a downer and got mixed reactions, but critics praised the skill of Meirelles’ filmmaking and this has the vague whiff of a ‘compromise winner’ which could satisfy a divided jury.
  • Che (Dir. Steven Soderbergh): Although it seemed to split the critics, the biggest problem Steven Soderbergh’s epic Che Guevera project has is that it is actually two films. However, rumours from Cannes suggest that Penn favours this film, so it must be seen as a strong contender.
  • Delta (Dir. Kornel Mundruczo): Hungarian director Kornel Mundruczo was according to one critic a ‘typical festival art film’ which may or may not help it. The lack of buzz would indicate it is out of the running.
  • The Class (Dir. Laurent Cantet): A French film winning the Palme d’Or is a rare sight and this tale of a high school teacher in a poor neighborhood could be an outside shot if the jury is inclined to go for a more low key approach.
  • 24 City (Dir. Zhangke Jia): This tale of economic change in China could be a dark horse and the recent tragic events in that country may give it a deeper resonance with the jury.
  • Gomorrah (Dir. Matteo Garrone): This dark and unflinching look at the Mafia in Naples, adapted from Roberto Saviano‘s bestselling book, has pleased many critics. A counterblast to traditional TV and movie representations of the Mafia, it might almost be seen as a metaphor for how the world currently being run. A very strong frontrunner.
  • Il Divo (Dir. Paolo Sorrentino): The other Italian entry, dealing with MP Giulio Andreotti, may struggle in the shadow of Gomorrah as it to deals with organized crime albeit from a much drier and different angle.
  • Changeling (or The Exchange) (Dir. Clint Eastwood): Eastwood’s tale of a mother (Angelina Jolie) losing her son amidst a sea of corruption in 1920’s LA got solid reviews and has to be a strong contender. In his opening press conference Penn agrily denied the possibility of favouritism towards his friend and former colleague saying all films would be judged equally. That actually makes me think it won’t win but if it did, given the confusion over the title, will anyone know what to call it?
  • Frontier Of Dawn (Dir. Philippe Garrel): Veteran Philippe Garrel’s film about an affair between a photographer and a beautiful woman didn’t go down too well with the critics, plus a lurch to the supernatural makes it a long shot for any prizes.
  • The Headless Woman (Dir. Lucrecia Martel): This tale from Argentina of a woman who thinks she has run something over has been dubbedby J. Hoberman “the Best Film in Competition Least Likely to Win a Prize.” Which is just one of many reasons why it probably won’t win.
  • Lorna’s Silence (Dir. Jean-Pierre Et Luc Dardenne): Although the Belgian duo are past winners at Cannes (in 1999 and 2005), their brand of gritty realism may be wearing thin. A third win would be a remarkable achievement but I can’t see it happening.
  • Lion’s Den (Dir. Pablo Trapero): This tale of a woman in an Argentine prison may not be in the running for the main prize but Martina Gusman scooping Best Actress is a possibility.
  • Linha De Passe (Dir. Walter Salles, Daniela Thomas): Although the praise was rather muted for this tale of a poor family in Sao Paolo it may find favour with some on the jury. Still an outside bet though.
  • My Magic (Dir. Eric Khoo): Singapore’s Eric Khoo is very much a director who operates on the arthouse circuit. The fact that this was only shown on a single afternoon screening on Friday would seem to suggest that this film – about the relationship between a drunken former magician and a 10-year-old boy – has no chance whatsoever of winning the Palme d’Or.
  • Palermo Shooting (Dir. Wim Wenders): Although he won in Paris, Texas back in 1984 and got Best Director for Wings of Desire in 1987, German director Wim Wenders has gone off the boil somewhat. Don’t Come Knocking back in 2005 signalled a new low for this once brilliant filmmaker and the lack of interest and buzz for this tale of a photographer in Sicily means it almost certainly won’t win.
  • Serbis (Dir. Brillante Mendoza): This tale of a struggling porn cinema in Manila had a few admirers but I would hazard a guess that it’s chances of any prizes tonight are limited.
  • Synecdoche, New York (Dir. Charlie Kaufman): Charlie Kaufman’s directorial debut about a New York theatre director (Philip Seymour Hoffman) baffled a lot of critics. Although it has admirers it is hard seeing the jury giving it the big prize, even though it had the ‘lucky’ Friday slot and a strong pedigree.
  • Two Lovers (Dir. James Gray): An old fashioned tale of a Brooklyn man (Joaquin Phoenix) caught between two women (Gwyneth Paltrow and (Vinessa Shaw) this polarised critics and seems unlikely to scoop any prizes. But given the Cannes selectors persistence in inviting him back most years, who knows? A wildcard.
  • Three Monkeys (Dir. Nuri Bilge Ceylan): A strong contender that played very well with some critics, this tale of a driver taking the rap for his well connected boss could find favour amongst some judges, but it looks like a sneaky dark horse.
  • A Christmas Tale (Dir. Arnaud Desplechin): Whilst this tale of French family reuniting over Christmas pleased quite a few critics, it doesn’t smack of the kind of film that is going to win this year. It looks as though the French will have to wait another year for a Palme d’Or winner.
  • Waltz With Bashir (Dir. Ari Folman): Perhaps the film of the festival amongst the cognoscenti on the Croisette, this animated tale of Ari Folman’s personal experiences as a soldier in the 1982 Lebanon War ticks all the boxes. Visually arresting, politically engaged and tipped by many to scoop the Palme d’Or. Whilst that doesn’t mean it will win, it is looking like the favourite.

My prediction to win?

Waltz with Bashir (although Gomorrah is a very close second).

* UPDATE *: The Class has won.

> Official site for the Cannes Film Festival and the full list of films competing in the official selection
> Past winners of the Palme d’Or

Categories
Cannes Festivals

Cannes 2008: Previous Winners of the Palme d’Or

Tomorrow night this year’s winner of the Palme d’Or will be announced at the Cannes Film Festival.

When the festival began in 1939 the top prize at the festival was known as the Grand Prix.

But in 1955 the Festival started to award the best film a golden palm, in tribute to the coat of arms of the City of Cannes.

Here is a list of winners since 1955:

1955 Marty (Dir. Delbert Mann)
1956 The Silent World (Dir. Jacques-Yves Cousteau and Louis Malle)
1957 Friendly Persuasion (Dir. William Wyler)
1958 The Cranes Are Flying (Dir. Mikhail Kalatozov)
1959 Black Orpheus (Dir. Marcel Camus)
1960 La dolce vita (Dir. Federico Fellini)
1961 The Long Absence (Dir. Henri Colpi) and Viridiana (Dir. Luis Buñuel)
1962 O Pagador de Promessas (Dir. Anselmo Duarte)
1963 The Leopard (Dir. Luchino Visconti)

From 1964 to 1974 the festival temporarily resumed awarding the Grand Prix, due to ‘copyright problems’  with the Palm:

1964 The Umbrellas of Cherbourg (Dir. Jacques Demy)
1965 The Knack 
and How to Get It (Dir. Richard Lester)
1966 A Man and a Woman (Dir. Claude Lelouch) and The Birds, the Bees and the Italians (Dir. Pietro Germi)
1967 Blow-Up (Dir. Michelangelo Antonioni)
1968 Cancelled due to events of May 1968
1969 If…. (Dir. Lindsay Anderson)
1970 MASH (Dir. Robert Altman)
1971 The Go-Between (Dir. Joseph Losey)
1972 The Working Class Goes to Heaven (Dir. Elio Petri) and The Mattei Affair (Dir. Francesco Rosi)
1973 The Hireling (Dir. Alan Bridges) and Scarecrow (Dir. Jerry Schatzberg)
1974 The Conversation (Dir. Francis Ford Coppola)

From 1975 to the present, the award switched back to the Palme we all know and love:

1975 Chronicle of the Years of Fire (Dir. Mohammed Lakhdar-Hamina)
1976 Taxi Driver (Dir. Martin Scorsese)
1977 Padre Padrone (Dir. Paolo Taviani and Vittorio Taviani)
1978 The Tree of Wooden Clogs (Dir. Ermanno Olmi)
1979 Apocalypse Now (Dir. Francis Ford Coppola) and The Tin Drum (Dir. Volker Schlöndorff)
1980 All That Jazz (Dir. Bob Fosse) and Kagemusha (Dir. Akira Kurosawa)
1981 Man of Iron (Dir. Andrzej Wajda)
1982 Missing (Dir. Costa-Gavras) and The Way (Dir. Yılmaz GĂŒney and ƞerif Gören)
1983 The Ballad of Narayama (Dir. Shohei Imamura)
1984 Paris, Texas (Dir. Wim Wenders)
1985 When Father Was Away on Business (Dir Emir Kusturica)
1986 The Mission (Dir. Roland Joffé)
1987 Under the Sun of Satan (Dir. Maurice Pialat)
1988 Pelle the Conqueror (Dir. Bille August)
1989 sex, lies, and videotape (Dir. Steven Soderbergh)
1990 Wild at Heart (Dir. David Lynch)
1991 Barton Fink (Dir. Joel and Ethan Coen)
1992 The Best Intentions (Dir. Bille August)
1993 Farewell My Concubine (Dir. Chen Kaige) and The Piano (Dir. Jane Campion)
1994 Pulp Fiction (Dir. Quentin Tarantino)
1995 Underground (Dir. Emir Kusturica)
1996 Secrets & Lies (Dir. Mike Leigh)
1997 Taste of Cherry (Dir. Abbas Kiarostami) and The Eel (Dir. Shohei Imamura)
1998 Eternity and a Day (Dir. Theo Angelopoulos)
1999 Rosetta (Dir. Luc and Jean-Pierre Dardenne)
2000 Dancer in the Dark (Dir. Lars von Trier)
2001 The Son’s Room (Dir. Nanni Moretti)
2002 The Pianist (Dir. Roman Polanski)
2003 Elephant (Dir. Gus Van Sant)
2004 Fahrenheit 9/11 (Dir. Michael Moore)
2005 The Child (Dir. Luc and Jean-Pierre Dardenne)
2006 The Wind That Shakes the Barley (Dir. Ken Loach)
2007 4 Months, 3 Weeks and 2 Days (Dir. Cristian Mungiu)
2008 The Class (Entre les Murs) (Dir. Laurent Cantet)

> Official site of the Cannes Film Festival
> IMDb section for the Palme d’Or Winners

Categories
Cannes Festivals

Cannes 2008 Reactions: Synecdoche, New York

Charlie Kaufman is best known as the screenwriter of Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind.

His directorial debut is Synecdoche, New York and it screened today in competition at Cannes.

It stars Philip Seymour Hoffman as a theatre director in Schenectady, New York who has to cope with his wife leaving him and a mysterious illness.

Worried about his life, he moves his theater company to a warehouse where he attempts to create a life-size replica of New York as part of his new play. Catherine Keener, Michelle Williams, Samantha Morton and Hope Davis co-star.

Here is a summary of the critical reaction:

Todd McCarthy of Variety praises it as ‘wildly ambitious’ and ‘overreaching‘:

Like an anxious artist afraid he may not get another chance, Charlie Kaufman tries to Say It All in his directorial debut, “Synecdoche, New York.”

A wildly ambitious and gravely serious contemplation of life, love, art, human decay and death, the film bears Kaufman’s scripting fingerprints in its structural trickery and multi-plane storytelling.

At its core a study of a theater director whose life goes off the rails into uncharted artistic territory, it’s the sort of work that on its face appears overreaching and isn’t entirely digestible on one viewing.

A.O. Scott of the New York Times enjoys the ideas, invention and humour of the film:

Mr. Kaufman, the wildly inventive screenwriter of ‘Being John Malkovich’ and ‘Eternal Sunshine of the Spotless Mind’, has, in his first film as a director, made those efforts look almost conventional.

Like his protagonist, a beleaguered theater director played by Philip Seymour Hoffman, he has created a seamless and complicated alternate reality, unsettling nearly every expectation a moviegoer might have about time, psychology and narrative structure.

But though the ideas that drive “Synecdoche, New York” are difficult and sometimes abstruse, the feelings it explores are clear and accessible.

These include the anxiety of artistic creation, the fear of love and the dread of its loss, and the desperate sense that your life is rushing by faster than you can make sense of it.

A sad story, yes, but fittingly for a movie bristling with paradoxes and conundrums, also extremely funny.

Allan Hunter of Screen Daily raves about the film’s ‘staggering imagination‘:

Charlie Kaufman is a past master of ingenious conceits and wild flights of fantasy as witnessed particularly in Being John Malkovich and Enternal Sunshine of the Spotless Mind.

His talent has always been filtered through the vision of a sympathetic director but with Synecdoche, New York he assumes the director’s role for the first time.

The result is a film of staggering imagination, more daring in content than form as it explores the unbearable fragility of human existence and the sad inevitability of death.

James Rocchi of Cinematical thinks it is a ‘sprawling, messy work of inspired brilliance‘:

The directorial debut of screenwriter Charlie Kaufman (Eternal Sunshine of the Spotless Mind, Adaptation), Synecdoche, New York is a sprawling, messy work of inspired brilliance and real humanity, a film that enthralls and affects even as it infuriates and confounds.

Synecdoche, New York is bolder and bigger and weirder than the movies that sprang from Kaufman’s scripts for Spike Jonze (Being John Malcovich, Adaptation) and Michel Gondry (Human Nature, Eternal Sunshine of the Spotless Mind); it’s also colder and crueler than those films.

Jeffrey Wells of Hollywood Elsewhere says the film is a:

…semi-nourishing, semi-tortured Fellini-esque Chinese box mindfuck-dreamscape…

Anne Thompson of Variety reported recently that the fim screened for buyers earlier in the week:

Sidney Kimmel Entertainment and UTA decided to invite all the top buyers to an early Saturday market screening, well before all the critics and press would pass judgement.

If there was ever a movie perfect for Cannes it is this one, which is, according to those who have read the script and seen it, ambitious, arty and brilliant, if not entirely accessible.

This is the first one sheet poster:

Here are three clips from the film:

And finally the issue of how to actually pronounce the film’s title has been the subject of much speculation as this video from Variety’s Mike Jones suggests:

Apparently the first word of the title is pronounced “Syn-ECK-duh-kee”.

The film is probably going to get released in the US later this year.

> Watch the press conference at the official Cannes site
> Reuters report on the film from Cannes
> Synecdoche, New York at the IMDb

Categories
Cannes Festivals News

Cannes 2008 Reactions: Che (Guerilla / The Argentine)

Steven Soderbergh’s ambitious two film project about Che Guevera screened at Cannes last night as Guerilla and The Argentine were shown back-to-back in competition.

Would critics get cranky at sitting through 4 hours and 18 minutes of Che or could we see a repeat of 1989 when a young Soderbergh scooped the Palme d’Or for Sex, Lies and Videotape?

Just a quick note about the film – I doubt very much that it will be commercially released as a four hour double bill. Surely two separate movies released within a reasonable time frame is what’s going to happen.

Here is a summary of what the critics thought:

Todd McCarthy of Variety calls it ‘intricately ambitious’ but ‘defiantly nondramatic’:

No doubt it will be back to the drawings board for ‘Che’, Steven Soderbergh’s intricately ambitious, defiantly nondramatic four-hour, 18-minute presentation of scenes from the life of revolutionary icon Che Guevara.

If the director has gone out of his way to avoid the usual Hollywood biopic conventions, he has also withheld any suggestion of why the charismatic doctor, fighter, diplomat, diarist and intellectual theorist became and remains such a legendary figure; if anything, Che seems diminished by the way he’s portrayed here.

Neither half feels remotely like a satisfying stand-alone film, while the whole offers far too many aggravations for its paltry rewards.

Scattered partisans are likely to step forward, but the pic in its current form is a commercial impossibility.

Jeffrey Wells of Hollywood Elsewhere thinks differently, calling the two films ‘incandescent’ and ‘gripping’ :

The first half of Steven Soderbergh’s 268-minute Che Guevara epic is, for me, incandescent -a piece of full-on, you-are-there realism about the making of the Cuban revolution that I found utterly believable.

Not just “take it to the bank” gripping, but levitational – for someone like myself it’s a kind of perfect dream movie.

The second half of Che, also known as Guerilla, just got out about a half-hour ago, and equally delighted although it’s a different kind of film — tighter, darker (naturally, given the story). But I’ve been arguing with some colleagues who don’t like either film at all, or don’t think it’s commercial.

What does it say about people who see a film like this and go “meh” ? You can’t watch a live-wire film like Che and say “give me more.” It is what it is, and it gives you plenty. Take no notice of anyone who says it doesn’t.

James Rocchi of Cinematical is also a big fan, calling the two films ‘a rare pleasure’:

There will be arguments about the politics of the films; there will be discussions of whether or not the films have any emotional center; there will be questions of if, when the film gets some kind of U.S. distribution deal, exactly how they should be released — two films released staggered throughout the last half of the year or cut down to one three-hour film or shown as a long, big double bill that presents the separate films back-to-back.

I can’t predict how all of these questions and possibilities will play out, but I can say — and will say — what a rare pleasure it is to have a film (or films) that, in our box-office obsessed, event-movie, Oscar-craving age, is actually worth talking about on so many levels.

Allan Hunter of Screen Daily salutes an ‘absorbing, thoughtful marathon’:

It is hard to imagine another American director of his generation with the clout or all-round ability to pull off a two film, five hour portrait of revolutionary icon Ernesto Che Guevara.

His measured approach eschews grand, crowd-pleasing gestures or any temptation to adopt the sweep of a David Lean-style epic.

Instead, he has created an absorbing, thoughtful marathon in which the focus is firmly on the personalities and the political arguments that forged the revolutionary ideals of the 1950s and 1960s.

Peter Bradshaw of The Guardian says it is ‘virile, muscular film-making’:

The Cannes film festival now has a serious contender for the Palme d’or. Steven Soderbergh’s four-and-a-half hour epic Che, about the revolutionary Ernesto “Che” Guevara, was virile, muscular film-making, with an effortlessly charismatic performance by Benicio del Toro in the lead role.

…Che was gigantic without being precisely monumental.

It is such big, bold, ambitious film-making: and yet I was baffled that Soderbergh fought shy of so many important things in Che’s personal life.

Of course, it could be that he avoided them to avoid vulgar speculation, and felt that the two spectacles of revolution incarnate were more compelling: a secular Passion play.

Whatever the reason, Che is never boring and often gripping.

Anne Thompson of Variety admires parts of the film(s) but questions Soderbergh’s decision to screen it at Cannes in it’s current form:

Benecio del Toro gives a great performance, but Soderbergh’s roving HD camera keeps its distance as Che trains guerillas in the jungle, leads his troops through various skirmishes and the takeover of Santa Clara, talks to TV interviewers and gives moving speeches at the U.N.

The movie is well made and watchable.

Soderbergh didn’t think he could finish the film in time for Cannes. Why don’t these guys ever learn? Remember Richard Kelly’s Southland Tales, Wong Kar Wai’s 2046, Vincent Gallo’s The Brown Bunny, and Edward Norton-starrer Down in the Valley?

DON’T TAKE AN UNFINISHED MOVIE TO CANNES!!!! Wait. Give the film the time you need.

The good news: there is plenty of fine material here to be edited into one releasable long dramatic feature and hopefully French producer/sales co. Wild Bunch, which paid for 75 % of the $61 million film, and Telecinco, which came up with 25%, will give the filmmaker the time he needs to find this promising film’s final form.

Jonathan Dean of Total Film says it is ‘superb’:

Che is superb, pretty much a masterpiece, by far Soderbergh’s best film, definitely the greatest of the festival so far and, incredibly, a film that despite being the best part of five hours, leaves you wanting much more.

Yeah. It is that good.

Pete Hammond writing for the LA Times says Del Toro ‘completely inhabits the role’ of Che:

Del Toro completely inhabits the role as you might expect. He was born to play Che.

But immediately afterward one distributor proudly related that he stayed awake thru the whole thing but told us it’s a very tough sell at that price.

‘Che’, if it indeed remains split into two parts, is a true marketing challenge for whoever picks up domestic rights and most of the buyers were there last night to check it out for the first time.

Award season chances clearly depend on critical reaction and how it is presented. Best shot would be for Del Toro who might stand a chance in the actor race depending on which of the two films they push. Overall at this juncture it could be a tough academy sell but the film itself may still be a work-in-progress.

Glenn Kenny of indieWIRE appears to be praises it’s ‘detachment’ and ‘intellectual curiosity’:

Che benefits greatly from certain Soderberghian qualities that don’t always serve his other films well, e.g., detachment, formalism, and intellectual curiosity.

Benicio del Toro, despite being ten real years older than anybody playing the part in any period should be, …works almost demonically at making Che’s appeal palpable. But his performance is just a remarkable cog in Soderbergh’s meticulous examination of process.

…critics of my acquaintance were arguing its merits and faults on the side streets of Cannes even as I dragged myself off to my residence here to write this up.

The film does not yet have a UK or US release date.

> Official link to the film at the Cannes festival site
> Watch the press conference with Steven Soderbergh and Benicio del Toro
> Find out more about Guerilla and The Argentine at Wikipedia

Categories
Cannes Festivals News

Cannes 2008: World Cinema Foundation

The World Cinema Foundation is a non-profit organization dedicated to preserving and restoring neglected films from around the world.

Established by Martin Scorsese, it supports and encourages preservation efforts to save the worldwide patrimony of films, ensuring that they are preserved, seen and shared.

register now!

They announced today in Cannes that they are teaming up with the Ingmar Bergman Foundation for a joint project to preserve, restore and reveal rare behind-the-scenes footage from the Swedish director’s extensive personal archive.

Newly restored and never seen before footage of Bergman on the set of Sawdust and Tinsel (1953), was screened yesterday in front of the Cannes Classics presentation of the World Cinema Foundation’s restoration of Metin Erksan’s Turkish classic Susuz Yaz (1964).

The World Cinema Foundation is going to fund the restoration, editing and commentary of more than 14 hours of behind-the-scenes footage for a total of 18 Bergman titles, ranging from Sawdust and Tinsel in 1953 through The Seventh Seal, Persona, Cries and Whispers and After the Rehearsal in 1984.

The majority of the footage is of Ingmar Bergman at work, but also included are scenes of a more personal matter.

> For more information visit the official website of the World Cinema Foundation
> Cannes Film Festival
> The Ingmar Bergman Foundation
> Ingmar Bergman at the IMDb

Categories
Cannes Festivals

Cannes 2008 Reactions: Changeling

Changeling is the latest film directed by Clint Eastwood to screen in competition at Cannes after previous efforts such as Mystic River (2003), White Hunter Black Heart (1990) and Pale Rider (1985).

Set in LA in 1928 and stars Angelina Jolie as a woman whose young son goes missing. When the child is found months later, she suspects it might not be him.

Clint was also president of the jury in 1994 when Pulp Fiction scooped the Palme d’Or. Can this film win the big prize?

Here is a summary of the critical reaction:

Todd McCarthy of Variety is highly impressed, says it is ‘far-reaching’ and ‘powerful’:

A thematic companion piece to “Mystic River” but more complex and far-reaching, “Changeling” impressively continues Clint Eastwood’s great run of ambitious late-career pictures.

Emotionally powerful and stylistically sure-handed, this true story-inspired drama begins small with the disappearance of a young boy, only to gradually fan out to become a comprehensive critique of the entire power structure of Los Angeles, circa 1928.

Graced by a top-notch performance from Angelina Jolie, the Universal release looks poised to do some serious business upon tentatively scheduled opening late in the year.

Mike Goodridge of Screen Daily says it is ‘beautifully produced’ and an early Oscar contender:

Beautifully produced and guided by Eastwood’s elegant, unostentatious hand, it also boasts a career-best performance by Angelina Jolie who has never been this compelling.

Like Mystic River in 2003, it should go all the way from the Palais to the Academy Awards next March.

Kirk Honeycutt of The Hollywood Reporter feels it is compelling and praises Jolie’s performance:

A true story that is as incredible as it is compelling, “Changeling” brushes away the romantic notion of a more innocent time to reveal a Los Angeles circa 1928 awash in corruption and steeped in a culture that treats women as hysterical and unreliable beings when they challenge male wisdom.

Jolie puts on a powerful emotional display as a tenacious woman who gathers strength from the forces that oppose her. She reminds us that there is nothing so fierce as a mother protecting her cub.

Richard Corliss of Time praises it as ‘taut, twisty and compelling’:

In that sense the movie is a companion piece to last year’s Cannes entry A Mighty Heart, in which Jolie played the wife of kidnapped journalist Daniel Pearl — except that Changeling is far more taut, twisty and compelling.

….The movie becomes an ensemble piece, with a dozen or so character actors carrying the storyline. In other words, Changeling is exactly as good as its makings.

By the end, with its purposeful accumulation of depravities, both individual and institutional, Eastwood’s non-style has paid off…

Kim Voynar of Cinematical thinks it is riveting and that Jolie excels:

Clint Eastwood’s Changeling (which may or may not be now known as The Exchange), is a riveting drama about a missing boy and the undying constancy of a mother’s love.

Angelina Jolie excels in a powerful performance as Christine Collins, whose nine-year-old son, Walter, disappeared in 1928.

Glenn Kenny of Some Came Running says it is a ‘strong’ and ‘angry’ picture:

The result is not as perfect a film as Eastwood has made, but it’s damn strong, both as a story and an exploration of the parent-child bond and a polemic.

Because despite the fact that it deals with the corruption and venality of a past era, Changeling is at times a very angry picture; Eastwood’s angriest, I think, since Unforgiven.

Incidentally, Andrew Hehir of Salon has posted some useful thoughts on the confusion surrounding the film’s actual title:

For weeks the film has been listed in official festival materials under the title “Changeling,” but a few days ago that title began to evaporate, almost as mysteriously as young Walter Collins does in the movie.

It screened on Tuesday morning in the Grand ThĂ©Ăątre LumiĂšre under the French title “L’Ă©change,” with no English translation given.

That means “the exchange” — there’s no clear French equivalent to the word “changeling” — and as the post-screening press conference was breaking up, host Henri BĂ©har said to Eastwood in tones of puzzlement, “We were all assured in writing that the title in English was now ‘The Exchange.'”

Breaking out one of his trademark sphinx-like smiles — the mouth smiles, but the eyes don’t — Eastwood replied, “It’s in writing, but is it the truth?”

We all laughed, he got up and left the room, and we were stuck with a movie with no name, made by the Man With No Name.

The IMDb lists it as Changeling and I’m sticking with that until it, er, changes…

> Changeling at the IMDb
> See Eastwood and Jolie at the press conference on the official Cannes site

Categories
Cannes Festivals

Cannes 2008 Reactions: Two Lovers

Two Lovers is the latest film from director James Gray and it screened in competition yesterday.

It is a drama set in Brooklyn about a bachelor (Joaquin Phoenix) who is torn between two women (Gwyneth Paltrow and Vinessa Shaw).

Here is a summary of the critical reaction:

Todd McCarthy of Variety says it is ‘involving’ and ‘touching’:

An involving, ultimately touching romantic drama about a young man’s struggle deciding between the two women in his life, ‘Two Lovers’ reps a welcome change of pace for director James Gray from his run of crime mellers.

Well acted by Joaquin Phoenix, Gwyneth Paltrow and Vinessa Shaw, this very New York tale is old-fashioned in good ways that have to do with solid storytelling, craftsmanship and emotional acuity.

Developing an audience will be another matter altogether; its central romantic dynamic would be entirely accessible to a mass audience, but pic’s smallish nature and lack of real B.O. names suggest that interest will need to be built among discerning viewers via fest exposure and critical support, leading into gradual platform release by a dedicated distrib.

Ray Bennett of The Hollywood Reporter predicts it will ‘please many’ and ‘may win awards’:

Shot, paced and scored like a 1950s kitchen-sink romance, the film spurns the school of Judd Apatow with a complete disdain for adolescent contrivance and stupid gags.

Boxoffice will depend on audiences in the “Grand Theft Auto” era deciding that the fate of three little people adds up to more than a hill of beans. Lacking a larger context such as a world war, odds are they won’t, but the film will please many and it may win awards.

Allan Hunter of Screen Daily is not too impressed, dubbing it ‘well crafted’ but ‘maudlin’:

Two Lovers is a maudlin, melancholic tug at the heartstrings that marks a welcome break from Gray’s preoccupation with crime and corruption.

It is well-crafted and ably acted but never especially moving and winds up feeling like something from the classier end of the American TV movie spectrum.

Neither eye-catching indie nor surefire blockbuster, it will struggle to find a comfortable commercial berth, leaving its future dependent on the drawing power of Gray regular Joaquin Phoenix.

Jeffrey Wells of Hollywood Elsewhere says it is ‘too earnest’ but ‘not half bad’:

…an attractively composed, persuasively acted but slightly too earnest and on-the-nose drama about romantic indecision.

But it’s not half bad — a little Marty-ish at times, maybe a bit too emphatic here and there, but nonetheless concise, reasonably well-ordered and, for the most part, emotionally restrained and therefore believable.

Glenn Kenny of Some Came Running was ‘frequently moved’:

Most of my U.S. colleagues here hated James Gray’s new film even more than they did last year’s booed-right-here We Own The Night, which I wasn’t too crazy about myself.

But I gotta give it up—as earnest and awkward as this loose rethink of Dostoevsky’s “White Nights” can get, it frequently moved me.

Anne Thomspson of Variety thinks it is a ‘gem’ :

Two Lovers played well not only for the black tie crowd at the Lumiere but for the U.S. buyers who haven’t been rocked by anything so far and have been looking bedraggled (by constant rain) and gloomy.

It’s specific to its New York borough locale. It features a vulnerable, touching performance by Joaquin Phoenix as an unhappy young man who is in love with a good girl beloved by his family (Shaw) and a bad girl (Paltrow) who dangles escape from his limited prospects.

It’s a gem.

The film hasn’t yet secured US distribution but that is likely to change in the next couple of days.

> Two Lovers at the official Cannes site
> James Gray at the IMDb

Categories
Cannes Festivals

Cannes 2008 Reactions: Le Silence de Lorna (Lorna’s Silence)

Le Silence de Lorna (Lorna’s Silence) screened today in Cannes and is the latest film from Luc Dardenne and Jean-Pierre Dardenne.

Le Silence de Lorna

It deals with a young Albanian woman living in Belgium who becomes an accomplice to a local mobster’s plan.

The Belgian duo have already won the Palme d’Or twice (with Rosetta in 1999 and L’Enfant in 2005) but what did critics make of their latest?

Here is a summary of reaction to the film, which is in competition:

Justin Chang of Variety praises the ‘immaculate construction’ and ‘fine lead performance’:

A resolutely naturalistic portrait of a young Albanian woman having second thoughts about a cold-blooded immigration scam, the film doesn’t pack the same cumulative wallop as the brothers’ earlier work, but its low-key artistry, immaculate construction and fine performance by relative newcomer Arta Dobroshi should rouse the usual fest acclaim and arthouse interest.

Mike Goodridge of Screen Daily says it starts well, but ultimately disappoints:

Fake marriages undertaken to get Belgian citizenship are the subject of the Dardenne brothers’ latest drama, which starts as rivetingly as any of their films and then, an hour in, spins into an unexpected and unsatisfying direction.

Set in the city of Liege, a far less gloomy location than the industrial grime of their hometown Seraing, the film will disappoint fans of their last few films, notably L’Enfant which won the Palme d’Or in 2005 and was a strong arthouse seller around the world.

Joanthan Romney of The Independent praises the ‘intensely gripping narrative’:

The story of a young Albanian woman married to a heroin addict in an effect to get Belgian citizenship, the film is the brothers’ usual blend of low-key realist cinematography and intensely gripping narrative.

Glenn Kenny of Some Came Running praises it as being ‘surprising’ and ‘deeply moving’:

Le Silence de Lorna is their followup to the 2006 Palme d’Or winner L’Enfant, and while I doubt that the Cannes prize is gonna go to this film (which IS, you know, “conscious of the world that we’re living in” and all, but in a way that’s likely too quiet to please self-righteous jury president Sean Penn), I think it’s every bit as nuanced, surprising, and deeply moving as that film.

Here is a clip from the film:

Lorna’s Silence will open in the UK on October 10th

> Le Silence de Lorna at the IMDb
> Watch the press conference The Dardenne Drothers gave earlier today
>

Categories
Cannes Festivals Images

Photos of the Cannes premiere of Indiana Jones and the Kingdom of the Crystal Skull

Here are some photos of the Cannes premiere of Indiana Jones and the Kingdom of the Crystal Skull.

THE AFTERNOON PRESS CALL

Actors Cate Blanchett, Shia LaBeouf, Harrison Ford, Karen Allen, director Steven Spielberg and producer George Lucas attend the press call in the afternoon.


Producer George Lucas, director Steven Spielberg, actors Karen Allen, Harrison Ford, Shia LaBeouf and Cate Blanchett pose at the press call outside the Palais du Festivals.

THE RED CARPET

Later the cast and filmmakers walk the red carpet outside the Palais.

Photographers taking photos that will be seen around the globe.

Cast and filmmakers line up with their partners on the red carpet.

Steven Spielberg, Kate Capshaw, Karen Allen, Cate Blanchett and Shia LaBeouf walk the red carpet.

Kathleen Kennedy, Frank Marshall, Kate Capshaw, Steven Spielberg, George Lucas, Melody Hoffman, Calista Flockhart and Harrison Ford pose on the steps of the Palais des Festivals.


Kate Capshaw, Steven Spielberg, George Lucas, Harrison Ford, Karen Allen, Cate Blanchett and Brad Grey on the Palais steps.

THE AFTER PARTY

The after party on the beach.

Brad Grey (CEO of Paramount Pictures), George Lucas (producer), Steven Spielberg (director) and Cate Blanchett (actress) at the after party.

Actors Shia LaBeouf, Harrison Ford and Karen Allen at the after party

Actress Karen Allen, director Steven Spielberg and actor Harrison Ford at the party

> Check out our countdown to the release of Indy 4
> See what the critical reaction was to the film in Cannes
> Indiana Jones and the Kingdom of the Crystal Skull at the IMDb
> The Raider.net – a terrific Indy fansite
> Lower res photos from Flickr

[Photos from Getty Images & WireImage © 2008 / Gareth Cattermole / Pascal Le Segretain / Sean Gallup / Dominique Charriau / Tony Barson]

Categories
Cannes Festivals Interesting Technology

Steven Spielberg on Seesmic with Jemima Kiss of The Guardian

Yesterday, The Guardian’s Jemima Kiss managed to ask Steven Spielberg and cast members of Indiana Jones and the Kingdom of the Crystal Skull (including Harrison Ford and Karen Allen) a bunch of questions via the new video site Seesmic.

She explains:

Seesmic, the video discussion site, has gone wild this morning as Steven Spielberg, Harrison Ford, George Lucas and more big names from Indiana Jones 4 join a Q&A session on the site.

It’s a simple enough idea but incredibly exciting; I just posted a few direct questions to Spielberg and Karen Allen (Marian was always one of my favourite heroines) and it’s quite a buzz watching them reply directly to your own questions.

Seesmic is quite intimate too – like most people, I just use my webcam and was still wearing my pyjamas when I recorded. But hey, pyjamas have a good internet heritage.

Here is Jemima asking him about his plans for the small screen and the interactivity of the web:

And Spielberg then replied:

Jemima also asked Steven how the Indy films fit into his wider body of work:

 

Harrison Ford talks about the first day on the set of the latest movie:

Karen Allen discusses the return of her character, Marion Ravenwood:

 

Great work from Jemima and it is good to see a major studio like Paramount and A-listers like Spielberg embracing this kind of technology.

As someone who has done my fair share of interviews with actors and filmmakers this looks like a really exciting development.

> The full interviews over at the Guardian’s PDA blog
> Jemima’s blog
> Official site for Seesmic
> Loic Le Meur blog with more details on how the interviews worked
> Techcrunch on Seesmic

Categories
Cannes Cinema Festivals News

Cannes 2008 Reactions: Indiana Jones and the Kingdom of the Crystal Skull

Earlier today, the world’s press in Cannes finally got to see Indiana Jones and the Kingdom of the Crystal Skull.

Would it be a Da Vinci Code style descent into a snake pit of critical derision or would Indy triumph whilst the doubters melted away like the Nazis at the end of Raiders?

On the whole, the reaction coming out of Cannes seems to be positive with a few naysayers here and there.

Here is a summary of the critical reaction:

Anne Thompson of Variety sets the scene outside the screening and says the film is ‘good enough’ and ‘fun’:

Indiana Jones and the Kingdom of the Crystal Skull had its world premiere at Cannes at 1 PM May 18; the press anxiously streamed into the Lumiere early, afraid they would be shut out–and many were.

There were whoos and whistles before the screening started. The movie unspooled without the usual Cannes logo. The first hour plays like gangbusters and is really fun.

Harrison Ford has Indy down, even as a grizzled “gramps” dealing affectionately with Shia LaBeouf as a 60s greaser with a pompadour.

The movie will do blockbuster boxoffice, and whatever critical brickbats are still to come…

Her Variety colleague Todd McCarthy says it ‘delivers the goods’:

One of the most eagerly and long-awaited series follow-ups in screen history delivers the goods — not those of the still first-rate original, 1981’s “Raiders of the Lost Ark,” but those of its uneven two successors.

“Indiana Jones and the Kingdom of the Crystal Skull” begins with an actual big bang, then gradually slides toward a ho-hum midsection before literally taking off for an uplifting finish.

Nineteen years after their last adventure, director Steven Spielberg and star Harrison Ford have no trouble getting back into the groove with a story and style very much in keeping with what has made the series so perennially popular. Few films have ever had such a high mass audience must-see factor, spelling giant May 22 openings worldwide and a rambunctious B.O. life all the way into the eventual “Indiana Jones” DVD four-pack.

Kim Voynar of Cinematical is also positive, saying it is ‘nicely satisfying’:

Indy 4 is a nicely satisfying continuation of the franchise, and will please most Indy fans.

Though the first act drags a bit, the latter two-thirds of the film pick up the pace, and the film is packed with all the familiar elements fans have come to expect from Indiana Jones.

Harrison Ford is older, of course (aren’t we all), but still brings the role all the charm, daring and humor Indy should have.

However, her Cinematical colleague James Rocchi is very disappointed though, deeming it ‘self-conscious and self-satisfied’:

Loaded with moments referencing the earlier films and full of action sequences that don’t measure up to past highlights of the series, Indiana Jones and the Kingdom of the Crustal Skull feels simultaneously self-conscious and self-satisfied, as if a little warm glow of past glory will soothe our bumps and blows from the clumsiness of the script.

The action sequences are nothing to write home about, either; there’s nothing here with the inspired delight of the mine chase in Temple of Doom, or the sheer, guts-and-glory greatness of the truck chase in Raiders.

I think most of us want Indiana Jones and the Crystal Skull to be good, which it, sadly, is not.

Jeffrey Wells of Hollywood Elsewhere is mostly admiring, saying he was ‘more than delighted at times’:

Sections of Indiana Jones and the Kingdom of the Crystal Skull are a great deal of fun.

I felt jazzed and charged during a good 60% or even 70% of it. I was more than delighted at times.

What a pleasure, I told myself over and over, to swim in a first-rate, big-budget action film that throws one expertly-crafted thrill after another at you, and with plotting that’s fairly easy to understand, dialogue that’s frequently witty and sharp, and performances — Harrison Ford, Shia LeBouf and Cate Blanchett’s, in particular — that are 90% pleasurable from start to finish.

I heard some guys say as they left the theatre, “It’s okay…it’s fine…it’s good enough.”

I talked to a guy who kind of wrinkled his face and went, “Not really…not for me.” But nobody hates it. It gave me no real pain, and a healthy amount of serious moviegoing pleasure. (Although I was, from time time, slightly bothered.) Fears of a DaVinci Code-styled beat-down were, it turns out, unfounded.

Allan Hunter of Screen Daily says ‘the old magic still works’:

The world can rest easy – the old magic still works in Indiana Jones And The Kingdom Of The Crystal Skull.

It may take some breathless, helter-skelter action to redeem the opening hour’s clunky storytelling, but the first Indy adventure in almost twenty years is like a fond reunion with an old friend and will not disappoint diehard fans or deter a new generation from embracing it as a summer blockbuster adventure ride.

This is money in the bank as far as exhibitors are concerned, but the relief of some critical support will do no harm to what is destined to stand as one of the year’s top moneymakers.

Kirk Honeycutt of The Hollywood Reporter feels it is ‘charmless’:

Director Steven Spielberg seems intent on celebrating his entire early career here.

Whatever the story there is, a vague journey to return a spectacular archeological find to its rightful home — an unusual goal of the old grave-robber, you must admit — gets swamped in a sea of stunts and CGI that are relentless as the scenes and character relationships are charmless.

Glenn Kenny at Some Came Running says it is the ‘most fun’ of the series since Raiders:

…the fourth Indy installment isn’t really an attempt to retroactively create a Spielberg omniverse.

But David Koepp’s script, from a story by George Lucas and Jeff Nathanson and Herge and Edgar Rice Burroughs and Erik von Daniken and Carl Stephenson and…well, you get the idea…does tie together a good number of Spielbergian themes into an eventually pretty nifty package.

Yeah—this is, by my sights, the most fun and least irritating installment of the series since the first one.

Charles Ealy of the Austin Movie Blog says the film is ‘no Da Vinci Code’, likes the new characters and also describes the chaotic scramble of journalists getting into the screening :

There were plenty of justifiable reasons for such savagery toward “The Da Vinci Code.” There are few reasons for such a reaction to the new Indy.

The scene outside the Palais before the premiere was chaos. Dozens of journalists from top-flight publications — with the highest credentials possible for festival access — were shut out of the theater until just before the movie started. And many had to sit in uncomfortable, fold-down seats at the ends of the aisles.

Fans of the Indy series will enjoy the reunion of Harrison Ford and Karen Allen, as well as the introduction of Shia Labeouf.

Labeouf, who has stunts involving knives, vines, swords and motorcycles, is believable as the naive sidekick who is drawn into Indy’s wild world.

Cate Blanchett, as usual, is pitch-perfect as a villainous Soviet parapsychologist.

And to finish, just a quick note on a ‘review’ today published by John Harlow of The Sunday Times (be careful if you don’t want the plot ruined as there are spoilers there).

It is – as I understand it – the first newspaper review of the film, but did Paramount really give the exclusive first look to a UK newspaper (albeit a big one)?

David Poland has some thoughts on this over at The Hot Blog:

After the embarrassingly misreported story on how dangerous Cannes is to Indiana Jones yesterday, The Times Online today offers an alleged first newspaper review of the film… that is nothing close to being a review!!!

All they do is drop a few spoilers and indicate that they liked the movie more than the buzz… the buzz that didn’t much exist and that they propagated!!!

Really… there is nothing much to read here, especially if you don’t want to read spoilers, albeit fairly minor ones. There is nothing approaching a single graph of critical argument about the film… not even hack level criticism.

I just don’t get it. Isn’t The Times Of London supposed to be Traditional Media? Aren’t they supposed to act like adults?

My guess – just a guess – is that they feared printing a full review before the Cannes screening because they had made an agreement with Paramount in order to get early access to the movie.

Indiana Jones and the Kingdom of the Crystal Skull has a gala premiere tonight and if you aren’t there you can follow the action via IFC’s Cannes webcam.

The film opens worldwide on Thursday.

> Indiana Jones and the Kingdom of the Crystal Skull at the IMDb
> Have a look at our countdown to Indy 4 with various facts, pictures and videos
> Check out a video of the Indy 4 press conference over at Anne Thompson’s Variety blog and an interview with Karen Allen
> IFC’s Cannes webcam
> Official Indiana Jones site

Categories
Cannes Festivals

Countdown to Indy 4

Today sees the world premiere in Cannes of Indiana Jones and the Kingdom of the Crystal Skull.

It is one of the most eagerly awaited releases of the summer and likely to be the highest grossing film at the box office this year.

I thought I’d post a few things in anticipation of the opening, ranging from images, videos and snippets of information related to the series.

THE CREATION OF INDIANA JONES

George Lucas created the character of Indiana Jones as a homage to the 1930 serials and pulp magazines he used to watch as a kid, such as those by Republic Pictures and the Doc Savage series.

The serial of Zorro Rides Again was a particular touchstone:

But the movie started to become a reality when, in 1977, Lucas was on holiday in Hawaii with his friend Steven Spielberg. The director of Jaws told him that wanted to make a Bond film, but Cubby Broccoli (then producer of the franchise) had turned him down twice.

Lucas said that he had his own concept for a hero (then called ‘Indiana Smith’) along similar lines – an archaeologist and adventurer inspired by the serials and comics he – and Spielberg – had enjoyed as children.

The visual look of Indiana Jones was created by comic book artist Jim Steranko. Lucas suggested the flight jacket, the fedora (a nod to Humphrey Bogart in The Treasure of the Sierra Madre) and a whip (reminiscent of Zorro’s weapon of choice).

The costume designer Deborah Nadoolman Landis admitted that Indy’s look was inspired by Charlton Heston’s character in the 1954 film Secret of the Incas:

Lawrence Kasdan was recruited to write the script on notes from Lucas and Philip Kaufman.

Indiana Jones was born, but who would play the role?

Harrison Ford had worked with Lucas on American Graffiti (1973) and Star Wars (1977) but the original choice for the role was actually Tom Selleck, who had recently been cast in the TV series Magnum, PI.

However, Selleck couldn’t get out of his contract with Universal television and had to pass on the role.

Ford was then cast just three weeks before production began on Raiders of the Lost Ark in the summer of 1980.

RAIDERS OF THE LOST ARK

The first film saw Indiana Jones searching for the Ark of the Covenant in 1936. In his search he discovers the Nazis are also keen to find and harness the Ark for their own ends.

Assisted by an old girlfriend named Marion Ravenwood (Karen Allen) he ends up in Egypt, where a rival archealogist named Belloq (Paul Freeman) is helping the Nazis.

Production was based at Elstree Studios just outside of London and also shot in various locations around the world including La Rochelle (for the Nazi submarine base), Tunisia (for Egypt section ), Hawaii (for the opening jungle sequence) and the United States from June to September of 1980.

The film was a huge hit when it was released in June 1981 and became the biggest film of that year, eventually grossing $384 million worldwide.

It was also nominated for 8 Oscars (including Best Picture) and ended up winning for Sound, Editing, Art Direction and Visual Effects.

Here are some quick facts about Raiders:

  • The name Indiana Jones was inspired by the name of George Lucas’ dog Indiana and Steve McQueen’s eponymous character in the 1966 film Nevada Smith.
  • The opening shot of a mountain peak in the jungle is a reference to the the Paramount Pictures logo. Similar shots open the following two films.
  • Alfred Molina has a small role in the opening scene (‘throw me the idol!’) and it was his screen debut. On his first day of filming he was covered with tarantulas – it was not the last time he had trouble with spiders as many years later in 2004, he would star as Dr Octopus in Spider-Man 2.
  • The airplane Indy escapes on in the opening sequence has the number ‘OB-CPO’, which is a reference to Obi-Wan Kenobi and C-3PO from Star Wars.
  • Toht, the sadistic Nazi interrogator (‘Good evening Frauline!’), was played by British actor Ronald Lacey. He also played the character of Harris in the TV series Porridge. There are two strange  coincidences involving Lacey and the film: he played The Bishop of Bath and Wells in an episode of Blackadder II in 1985 – a character who threatens people with a red hot poker. In Raiders, his character threatens Marion with a red hot poker in the opening scene. Also, Lacey starred in an episode of Magnum, PI in 1984 (The Case of the Red-Faced Thespian) – the very series that prevented Tom Selleck from starring as Indiana Jones.
  • The scene where Indy shoots a swordsman in the Cairo marketplace was scripted as a long fight, but Harrison Ford was suffering diarrhea at the time, and asked if it could be shortened. Spielberg joked that they could only do that if Indy pulled out his gun and just shot the guy. The scene worked so well that they kept it in.
  • An amateur shot-for-shot remake of Raiders was made by Chris Strompolos, Eric Zala and Jayson Lamb, who were children in Mississippi. Filmed over 7 years (1982-1989) it was known as Raiders of the Lost Ark: The Adaptation, it was rediscovered in 2003 and even acclaimed by  Spielberg himself, who said he was impressed with the “very loving and detailed tribute” and “appreciated the vast amounts of imagination and originality” of the film.

INDIANA JONES AND THE TEMPLE OF DOOM

Given the huge success of the first film, a sequel was an inevitability. In 1982 Spielberg made E.T., which even outstripped Raiders to become the biggest grossing film of all time.

When he unveiled E.T. at Cannes that year he was interviewed by Wim Wenders about the future of cinema:

Despite the financial pressures on studios and filmmakers in the early 80s, Spielberg had already established himself as the most successful filmmaker of his generation.

Anticipation for his next film was huge and all the more so because it would be the follow up to Raiders, entitled Indiana Jones and the Temple of Doom.

The film was technically a prequel as it is set in 1935, a year before the action in Raiders begins.

It opens with Indy in a Shanghai nightclub attempting to trade artifacts with a local gangster, only for it to go wrong. Indy escapes with the club’s singer, Wilhelmina “Willie” Scott (Kate Capshaw), with the help of a  young sidekick called Short Round.

They get on a cargo plane and after it crashes in the Himalayan mountains they bail out and end up in a village in India ravaged by evil forces nearby. The villagers persuade Indy to retrieve the Sankara Stone and the kidnapped children of the village who are held captive at nearby Pankot Palace.

The production was again based at Elstree Studios and location shooting was done in Sri Lanka. However filming was disrupted when Harrison Ford injured his back. Despite this setback, Spielberg found a way to shoot around it, with stuntman Vic Armstrong as a stand in.

Here is the original theatrical trailer:

It was released in May 1984 amidst a blizzard of hype and expectation as this report from Ted Koppel’s Nightline shows:

Although it was the third highest grossing film of that year (behind Ghostbusters and Beverly Hills Cop), some were taken aback by the darkness of the story, which included human sacrifice and a distateful dinner table sequence.

Although it was rated PG, the violence on display led to the creation of the new PG-13 rating as the MPAA came up with a category that covered the area between the PG and R ratings.

Some facts about the Temple of Doom:

  • The title was originally Indiana Jones and the Temple of Death
  • This was the first sequel Spielberg had ever made – outside the Indy series, the only other sequel he directed was the Jurassic Park follow up, The Lost World.
  • The club at the beginning is called ‘Club Obi Wan’, another reference to Star Wars character Obi-Wan Kenobi.
  • The scenes involving Indiana hiding behind a giant rolling gong, the mine cart chase sequence, and leaping out of an aeroplane in a rubber dinghy were in an early draft of Raiders and revisited for this film.
  • Indy’s associate in the opening night club scene is played by David Yip – best known to UK audiences for his role in the TV series The Chinese Detective.
  • Kate Capshaw would eventually become Steven Spielberg’s wife.
  • The footage of the giant bats in the jungle on they journey to Pankot Palace is footage from David Lean‘s The Bridge on the River Kwai (Spielberg is a huge fan of Lean)
  • When the two swordsmen attack Indy on the cliff and he reaches for his gun, the music references a similar scene from Raiders.

INDIANA JONES AND THE LAST CRUSADE

After the second Indiana Jones film, Spielberg ventured into more serious and literary subject matter, directing The Color Purple (1985) and Empire of the Sun (1987).

However in 1989 he reunited with Lucas and Ford for what everone expected to be the final chapter of the trilogy with Indiana Jones and the Last Crusade.

Spielberg, Lucas and screenwriter Jeffrey Boam came up with a more humourous film that featured an extended prologue of the young Indy (played by River Phoenix), a story that saw him hunt down the Holy Grail and Sean Connery cast as his father.

It was shot in a variety of locations including Spain, London, Germany, Jordan, Venice and the US.

When it opened in May 1989 it broke box office records by grossing $50 million in a single week and was the second highest grossing film that year behind Tim Burton’s Batman.

Here is the original theatrical trailer:

Here are some facts about The Last Crusade:

  • The opening prologue with River Phoenix as the young Indy hiding in a circus train, shows how he learned to use a whip, scarred his chin and why he has a fear of snakes.
  • After the criticisms of Temple of Doom, Spielberg reportedly said he wanted to complete the trilogy for George and ‘to apologize for the second one’.
  • Tom Stoppard did an uncredited script polish and wrote the scenes in which Indy complains to his father about having abandoned him as a boy to go off on his own adventures.
  • Spielberg turned down Rain Man and Big to make this film.
  • There are many Bond connections in this film: the original James Bond (Sean Connery), a former Bond ally (John Rhys-Davies), a former Bond girl (Alison Doody), two former Bond commanding officers (Michael Byrne and Billy J. Mitchell), a former Bond nightclub owner (Vernon Dobtcheff), and three former Bond villains (Julian Glover, Stefan Kalipha and Pat Roach ).
  • The actor who plays Hitler in the book burning sequence is Michael Sheard. He also had a role as the U-boat Captain in Raiders and originally auditioned for the role of Gestapo agent Toht. He is known to UK audiences for playing the role of Mr Bronson in the TV series Grange Hill.
  • Even though he plays his father, Sean Connery is actually only 12 years older than Harrison Ford.
  • Michael Byrne played a Nazi opposite Harrison Ford in Force 10 from Navarone (1978) and in this film. Curiously, in both movies his character ends up in a vehicle falling off a cliff.

After the film’s release Spielberg reportedly said in an interview:

I built every clue into this movie I possible could think of to let George know that we should retire this guy’s number. I did all I could. But at the moment I think I’d like to quit.

At this point we all feel pretty much have a nice first, second and third act. Why go and create a forth act? We don’t need one.

However, rumours of another Indiana Jones film would surface from time to time over the next 15 years.

INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL

During the 90s Spielberg made some of his most successful (Jurassic Park) and personal (Schindler’s List) films, winning his first Oscar for the latter.

He also made Amistad, Saving Private Ryan (for which he won another Oscar), Artificial Intelligence: AI, Minority Report, Catch Me If You Can, The Terminal, War of the Worlds and Munich.

Reports of another Indy movie persisted through the 90s but despite several attempts, none of the principals could agree on a script or story idea.

Amonsgst the roster of screenwriters hired to take a crack at a script were M. Night Shyamalan, Stephen Gaghan, Tom Stoppard and Frank Darabont.

Darabont had written several episodes of The Young Indiana Jones Chronicles tv series and between 2002 and 2004 wrote a script set in the 1950s, with surviving Nazis pursuing Jones.

Lucas rejected the draft despite Spielberg reportedly liking it. Jeff Nathanson was then hired in late 2004 to write a new draft, which was then passed over to David Koepp who is the credited writer for the new film (Lucas and Nathanson have story credit).

Finally in January 2007, Lucas and Spielberg announced that the fourth installment of Indiana Jones would definitely begin production that summer.

Shooting finally began on Indy 4 in New Mexico in June 2007 and the first image of Ford (taken by Spielberg) was officially released:

Footage of the first day’s filming in New Mexico was also released:

Shooting was mostly done in the US with some scenes shot in New Haven, Connecticut:

During Paramount Pictures’ presentation at Comic-Con in July, the audience got a special live video greeting from Hawaii as Steven Spielberg – along with Harrison Ford, Shia LaBeouf and Ray Winston – announced Karen Allen would be back as Marion Ravenwood:

Shooting then continued and on September 9th, Shia LaBeouf revealed (at the MTV Video Music Awards in Las Vegas) that the title would be:

Principal photography finished in October 2007 and this was the first trailer:

Yesterday in Cannes, the stars and Spielberg did a full day’s press at the Carlton Hotel and in the evening threw a small press cocktail party where the actors mingled with journalists.

According to Anne Thompson of Variety, producer Kathleen Kennedy explained why Spielberg wanted to do all the press before they had seen the film:

He really wants to try to preserve the experience for the audience, so they don’t know everything before they see the movie, like it was on the first three Raiders pics.

“If you learn everything, no one can get surprised anymore,” said Kennedy. “You can’t discover this movie until we let them discover it.”

Today, the film will get a world premiere at Cannes and on Thursday will be released worldwide.

> Official site for Indiana Jones
> Indiana Jones and the Kingdom of the Crystal Skull at the IMDb
> The Raider.net – a terrific Indy fansite
> Indy 4 reports in Cannes from Jeffrey Wells of Hollywood Elsewhere and Anne Thompson of Variety

Categories
Cannes Festivals

Cannes 2008 Reactions: Linha de Passe

Linha de Passe is the new film from director Walter Salles (who made Central Station and The Motorcycle Diaries) and screened in competition on Saturday.

Linha de Passe

Co-directed by Daniela Thomas it explores the the lives of four brothers in SĂŁo Paulo struggling to find a better life.

** UPDATE 18/09/08: Listen to our interview with Walter Salles **

Here is a summary of the critical reaction from Cannes:

Todd McCarthy of Variety thinks it is engrossing, but not gripping:

Engrossing if not gripping effort possesses the quality and seriousness to make limited inroads on the international art circuit.

Deborah Young of The Hollywood Reporter admires the film, especially the acting:

‘Linha de passe’ (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of “Central Station.”

Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.

Jonathan Romney of Screen Daily welcomes it as an alternative to recent Brazilian cinema:

Reunited with his co-director on 1996’s Foreign Land, Salles offers a well-knit multi-strander that vividly evokes the rigours of keeping body and soul together in Brazil’s biggest city, while offering a down-to-earth alternative to the more romantic and stylistically flashy films (City of God, Lower City, Berlin winner Elite Squad) with which Brazilian cinema has been identified lately.

Anthony Kaufman of indieWire has mixed feelings:

…an accomplished, though unremarkable competition film that never rises above its familiar tale of a poverty-stricken family.

Ty Burr of the Boston Globe admires the filmmaking but is taken aback by the bleakness of it:

An expertly filmed slice of Sao Paulo kitchen-sink realism, it tells of a family of poverty-stricken brothers who between them represent the many aspects of Brazil’s soul: soccer, sin, Jesus Christ, etc.

Also bleak, bleak, bleak. Salles can really make movies, and he just lovingly ground my face in this one.

Xan Brooks of The Guardian thinksit is a fine film (but had issues with the out-of-sync subtitles):

…the film marks a return to the soulful, socially conscious style he patented in Central Station, focusing on a trio of brothers hunting a route out of poverty, whether that be through football or gangsterism.

It’s a fine movie but the English subtitles keep slipping out of synch, so that they relate to action that’s already been and gone.

Eric Lavelee of IonCinema thinks it is a noteworthy drama:

A return to sources for Walter Salles and Daniela Thomas, this is a noteworthy drama without superficial story structures or overly complex characters.

> Linha de Passe at the IMDb
> Find out more about Walter Salles at Wikipedia

Categories
Cannes Festivals

Cannes 2008 Reactions: Vicky Cristina Barcelona

Woody Allen’s latest film Vicky Cristina Barcelona is having it’s out of competition premiere at Cannes tonight.

The film is about two young American women named Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) who come to Barcelona for a summer holiday only to get involved with a local painter (Javier Bardem) and his tempestuous wife (Penélope Cruz).

Todd McCarthy of Variety thinks it is sexy and funny:

‘Vicky Cristina Barcelona’ is a sexy, funny divertissement that passes as enjoyably as an idle summer’s afternoon in the titular Spanish city.

With Javier Bardem starring as a bohemian artist involved variously with Scarlett Johansson, Penelope Cruz and Rebecca Hall, pic offers potent romantic fantasy elements for men and women and a cast that should produce the best commercial returns for a Woody Allen film since “Match Point.”

And, in the bargain, if Barcelona wants even more visitors than it already attracts, this film will supply them.

Richard Corliss of Time rates it as Woody’s most engaging since Crimes and Misdeameanors (which by my reckoning is high praise indeed):

It’s hard not to feel warmly toward Allen after VCB, his first vital movie since Match Point three years ago (we quickly throw the veil of oblivion over Scoop and Cassandra’s Dream), and maybe his most engaging large-scale effort since, let’s say, Crimes and Misdemeanors nearly 20 years ago.

It doesn’t percolate with the inventive comic situations or quotable one-liners of the films that established his meta-movie credentials, Annie Hall and Manhattan; but, like them, this one is about people whose jobs are incidental to their real vocations of falling in love and messing things up.

Jeffrey Wells of Hollywood Elsewhere was less impressed:

The only parts of Woody Allen’s Vicky Cristina Barcelona that feel truly alive and crackling are the Spanish-language scenes between Javier Bardem and Penelope Cruz.

I never thought I’d see the day when one of the great comedy writers of the 20th Century would write unintentional howlers, but this happens every so often in VCB, and I was not happy to witness this.

Ty Burr of the Boston Globe enjoyed it, despite some reservations:

I think I enjoyed Woody Allen’s new movie, “Vicky Cristina Barcelona” a lot more than I should have. Certainly more than the people who gave it scattered boos after its Out of Competition screening here last night.

…In other words, the movie’s inordinate, even ridiculous fun, despite an overly chatty narrative track (not sure by whom at this writing) that I wanted to slap down after about five minutes.

An even bigger problem is a persistent, obnoxious and thoroughly unwanted narration track that makes this story of overlapping, off-and-on love affairs in present-day Barcelona so on-the-nose and over-explained that I was feeling actively hostile less than 15 minutes in.

Kirk Honeycutt of The Hollywood Reporter was admiring, especially of the performances by Bardem and Cruz:

…the film belongs to Bardem and Cruz. This is a Spanish version of “Private Lives,” a couple that cannot live apart or together, whose love will always burst into fiery combat.

Their scenes are some of the funniest Allen has ever put on film, and the culmination of this love/hate tango is not to be missed.

A voice-over narration for once actually works, urging the story on and slipping us past talk of art and poetry.

Javier Auirresarobe’s cinematography and Alisa Lepselter’s editing are unusually sharp, even by Allen’s high standards.

Kim Voynar of Cinematical feels it is one of Allen’s best films in years:

Cruz turns in a performance that’s better, even, than her Oscar-nominated turn in Volver; her Maria Elena is on-the-edge crazy, but is also very funny and engaging.

Mike Goodridge of Screen Daily thinks its his best film since 1994’s Bullets Over Broadway:

Vicky Cristina Barcelona, his first of several Spanish ventures, is as close to consistently delightful as Allen has been able to deliver since 1994’s Bullets Over Broadway.

Given a dramatic boost by the vitality and charisma of Spanish superstars Javier Bardem and Penelope Cruz, this sunny romantic comedy could well be the director’s biggest audience-pleaser in years.

Allen has created one of his best works in years, a film that is funny, philosophical, and imaginatively explorative of the meaning of love and desire.

The film is going to be distributed in the US by The Weinstein Company and gets a release there on September 5th.

Here is the international trailer:

And here is Woody, Rebecca Hall and Penelope Cruz sitting down for the press conference:

> Vicky Cristina Barcelona at the IMDb
> Cinematical report on today’s press conference
> Stills from the film

Categories
Cannes Festivals

Cannes 2008 Reactions: Un Conte de Noel (A Christmas Tale)

Un conte de Noel (A Christmas Tale) screened last night and is the latest film from director Arnaud Desplechin, who made Kings and Queen in 2004.

It is a drama about a dysfunctional family who gather together for the first time in years after a tragedy and stars Catherine Deneuve and Mathieu Amalric.

Here is a summary of critical reaction to the film:

Kim Voynar of Cinematical is impressed:

This could have been an emotionally wrenching film, but Desplechin keeps the tone light, infusing the drama with humor in the most unexpected places…

This kind of familial tale, interwoven with classic literary elements and philosophical questions, is something that Desplechin excels at, and A Christmas Tale is a perfect example of why both international and independent cinema — and a festival like Cannes, which showcases such films — are still important today.

I hope the film will secure distribution in the United States as well, so that American audiences might also get to appreciate its humor, beauty and depth.

Lisa Nesselson of Screen Daily is impressed by the cast as well as the craft of the film:

A beautifully-cast, tragic-comic ensemble piece in which an extended family gathers for the title holiday, Arnaud Desplechin’s A Christmas Tale is an intricate, accomplished patchwork of sometimes nutty but always believable human behaviour.

Lengthy but never dull, this lively tale is sufficiently engrossing to interest even those who don’t usually go for Desplechin’s frank and discomfiting approach to interpersonal and intergenerational relationships.

Lou Lumenick of the New York Post is impressed by the performances:

Excellent performances, including Mathieu Almaric as the ne’er-do-well eldest son and Anne Cosigny as the uptight sister who banished him, will make “A Christmas Tale” a holiday treat when it gets released in the U.S. later this year.

Kenneth Turan of the LA Times is a huge fan of the film and even feels that this could be the first French entry in over 20 years to scoop the Palme d’Or:

It’s been more than 20 years since a hometown French film won the Palme d’Or at the Festival de Cannes, but there is definitely a strong contender in Arnaud Desplechin’s marvelous “A Christmas Tale,” which screened here Friday morning.

Desplechin has created a multigenerational drama around a gorgeously fractious family that comes together for a memorable Christmas week reunion, a film that critics here are comparing to a Gallic “Fanny and Alexander.

Unexpected but still made squarely in the French humanist tradition, this is a film you don’t want to see end, not because the people are so happy but because they are so human and so alive.

Derek Elley of Variety is more restrained and doubts it will do much business outside fo France:

Performances and direction, rather than the yards of inconclusive dialogue, are what keep Arnaud Desplechin’s ‘A Christmas Tale’ from curdling in its own juices.

Dysfunctional family ensembler, just about held in focus by Catherine Deneuve’s regal perf as a mother who’s been diagnosed with liver cancer, is more tolerable and less pretentious than some of Desplechin’s previous talkfests, like ‘How I Got Into an Argument’ or ‘In the Company of Men’, but beyond Gaul faces only minimal business from hardcore addicts of the helmer and gabby French cinema.

Ty Burr of The Boston Globe finds it very French and very funny:

…very French, very engrossing, often very funny, like a good, long novel you can’t put down.

One of the jokes is watching Almaric and his ‘Diving Bell’ co-star Anne Consigny as a brother and sister who detest each other; one of its joys is watching Deneuve play opposite her daughter Chiara Mastroianni — playing a daughter-in-law Denueve’s character doesn’t much like.

Mastroianni is looking more and more like her late father, and her performance is one of the many gems in this rambunctious, imperfect joy of a movie.

Fabien Lemercier of Cineuropa is impressed by many aspects of the film:

The film is as brilliant as it is cruel, and brings together the sweetness of intelligence and cinematic know-how with its characters’ overflowing bitterness.

Its explosive elegance is near perfect, yet it successfully manages to keep the audience at an emotional distance.

Andrew O’Hehir of Salon is another huge fan of the film:

If this is not the obvious masterpiece on first viewing that “Kings and Queen” was, I found “A Christmas Tale” a marvelously rich visual, intellectual and emotional experience, one that I expect will grow deeper with repeat viewings.

IFC have acquired the US distribution rights for the film.

Here is the trailer (in French):

> Un conte de Noel (A Christmas Tale) at the IMDb
> IHT article on the film
> Reuters report on Mathieu Amalric and the film

Categories
Cannes Festivals

Cannes 2008 Reactions: Three Monkeys

One of the in competition films getting a lot of buzz over the last couple of days has been Three Monkeys (Uc Maymun) which had a gala screening tonight.

Directed by Nuri Bilge Ceylan (who made Uzak (Distant) in 2002 and Climates in 2006) it is a family drama about a politician (Ercan Kesal) who accidentally kills someone whilst out driving and manages to convince his lowly driver (Yavuz Bingol) to take the wrap.

The plot then thickens whilst the driver is in jail, with his wife (Hatice Aslan) and son (Ahmet Rifat Sungar) getting drawn into the web of deceit.

So far, the film has got several critics buzzing.

Jeffrey Wells of Hollywood Elsewhere thinks it is the first major film of the festival:

I was hooked from the get-go — gripped, fascinated. I was in a fairly excited state because I knew — I absolutely knew — I was seeing the first major film of the festival.

Three Monkeys is about focus and clarity in every sense of those terms, but it was mainly, for me, about stunning performances — minimalist acting that never pushes and begins and ends in the eyes who are quietly hurting every step of the way.

Geoff Andrew of Time Out urges people to see it:

This fifth feature is arguably the most ambitious film yet from the maker of ‘Uzak’ and ‘Climates’.

It has the dry humour, assured pacing, astute psychological insights and sharp sense of moral and dramatic irony that has been conspicuous in all his [Nuri Bilge Ceylan] work…

…if you thought Ceylan’s photographer’s eye produced stunning images in ‘Climates’, ‘Three Monkeys’ pushes the envelope still further. It’s been bought for the UK, so when it turns up, see it – and marvel!

Justin Chang of Variety is admiring, but has reservations about it’s commercial prospects:

Seeing, hearing and speaking no evil comes all too easily to the tortured trio in ‘Three Monkeys’, a powerfully bleak family drama that leaves its characters’ offenses largely offscreen but lingers with agonizing, drawn-out deliberation on the consequences.

But gripping as the film often is, its unrelenting doom and gloom offers fewer lasting rewards, making it unlikely to draw sizable arthouse crowds beyond the Turkish helmer’s fanbase.

Michael Phillips of The Chicago Tribune is bowled over by the film:

…’Three Monkeys’ offers the kind of artistry rare in contemporary cinema. Little details linger in the mind, such as a knife on a cutting board, tipping slightly in the breeze.

Ceylan gets wonderful suspense out of everyday things, such as a telltale cell phone ring-tone that wails to the tune of a vengeful Turkish pop ballad.

Most indelibly, the film’s brief but brilliant depictions of the dead son grip the audience like nothing else so far in this year’s Cannes festival.

Jonathan Romney of Screen Daily has one caveat in an otherwise admiring review:

The only cavil is that the pacing gets a little slack in the final stretches, and – while it’s the nature of a Ceylan film to be slow-burning – the smallest amount of trimming could well turn an exceptional film into a near-perfect one.

Charles Ealy of The Austin Movie Blog is engrossed:

Remarkably enough, I was engrossed by “The Three Monkeys” from the very beginning. It’s the best Ceylan film ever, not that such a comment will mean much to most people.

Ceylan’s cinematography is wonderful, once again.

Pyramide International, the sales company for the film, has already sold it to several territories including France, Italy, England and Ireland, Switzerland, Holland, Belgium, Luxemburg, Greece, India and Russia and the Baltic States.

Here is the trailer:

> Official site for Three Monkeys
> Find out more about Nuri Bilge Ceylan at Wikipedia

Categories
Cannes Festivals Interesting

Steven Spielberg at Cannes in 1982

This Sunday Steven Spielberg will be at the Cannes Film Festival to unveil Indiana Jones and the Kingdom of the Crystal Skull.

Back in 1982 he was there to unveil E.T.: The Extra-Terrestrial and during his stay German director Wim Wenders persuaded him to sit down for a short film called Room 666.

The premise was simple – Wenders asked a group of film directors from around the world to sit in Room 666 of the Hotel Martinez in Cannes.

Using a static camera he then asked the directors about the future of cinema, the principle question being:

Is cinema a language about to get lost, an art about to die?

Here is what Spielberg said (wait 23 seconds for him to appear):

> Room 666 at the IMDb
> More about the film at Wim Wenders official site