ENJOY THE SHOW
Back when the film premiered at the 2014 Cannes Film Festival, we got a teaser trailer for The Captive starring Ryan Reynolds. Now that the film is poised for a release in the United States this fall, a new theatrical trailer for Atom Egoyan's film has arrived, showing off more of the mystery thriller. The story, which also stars Rosario Dawson and Mireille Enos, centers around the disappearance of young girl, and the plot thickens when clues begin to surface that she's alive eight years later. The film didn't really get that warm of a reception at Cannes back in May, and the trailer is edited in a rather peculiar way. Watch?
"It feels important to me that the specificity of the world be known." At the 2014 Cannes Film Festival, one of my most anticipated films was David Michôd's The Rover, his follow-up to the Sundance 2010 breakout Australian film Animal Kingdom, one of my favorites that year which lead me to first interview him back in 2010. He's back and it was time to talk about his second film and what lead him to this one, starring Guy Pearce and Robert Pattinson. Excerpt: "I've always wanted to be a part of the big world of of it, it just felt so important to me the second [film], that I controlled it, that I consolidated something rather than making one movie, and people getting excited, and me just losing control of my career." Watch in full below.
After debuting at the Cannes Film Festival last month, the delayed, once-hopeful awards contender Grace of Monaco will likely hit theaters sometime later this year. But if the reviews out of France are true, it likely won't be in the Oscar race. The film was once slated for a March release before being held for Cannes, and now we get a better look at the film starring Nicole Kidman and Tim Roth by way of a nearly 10-minute featurette that comes from Cannes. Kidman and Roth discuss the story and the real-life characters of Grace Kelly and Prince Rainier III, and we see plenty of footage from the film as well. Watch!
"What you're seeing tonight is the reason why I started making movies." One of the many events that took place during the 2014 Cannes Film Festival was a special tribute screening of a 4K restored version of Tobe Hooper's horror classic The Texas Chain Saw Massacre. It was a special screening for the Directors' Fortnight, or Quinzaine des Réalisateurs, and it was introduced by Cannes jury member Nicolas Winding Refn. He gave a rather rambunctious intro, joking about how he should've won the Palme last year, but later going on to say that introducing this was a kind of closure for him, because when he was 14 he saw this at the Cinema Village in NY and it made him want to be a director. He then goes on to call it a masterpiece.
Two weeks have come and gone. The 67th Cannes Film Festival has wrapped up, the awards have been handed out, hundreds (of thousands) of reviews have been written, interviews conducted, parties held, deals closed, cinema experienced, films sold, arguments had. We lost one of the greatest voices in film last year, Roger Ebert, but his presence is still felt everywhere. Ebert, a Cannes regular, was honored with a tribute screening of the doc Life Itself this year. But I am thankful he also joined me at my side through his book, as I navigated the deluge of cinema. "Will you be back next year?" "Everybody will always be back next year."
There was a film at the 2014 Cannes Film Festival that is so bad, so poorly made, so terrible, that it doesn't belong on any screen. It belongs in the trash. The filmmaking is amateur, there is no narrative, the imagery (and cinematography) is ugly, there is no coherent message or idea or vision behind it despite claims to the contrary, and it can't be called cinema; it can hardly be called a "film". It just so happens this film is directed by Jean-Luc Godard, a once-great French filmmaker who has lost his sanity at age 83. Is it art? No. Is it experimental cinema? Nope. The film is, both literally and figuratively, a piece of shit - and I'll explain why.
We live on a remarkably beautiful planet, filled with diverse man-made and natural creations, spanning all corners of the world. From lush rain forests to massive deserts to extraordinary mountain ranges to epic landscapes of every kind. In the documentary The Salt of the Earth, filmmaker Wim Wenders connects with legendary photographer Sebastião Salgado, and explores the world with him by telling the story of his life, growing up in Brazil, eventually photographing the atrocities of humanity as well as the remarkable splendor of this world. Take a deep breath, sit back, and let this man's incredible images and story wow you.
The Cannes Film Festival is officially over, and while plenty of films that played the overseas cinema showcase have landed distribution, one film that got picked up didn't actually screen at the festival. In fact, Cedric Jimenez's period crime thriller La French, starring Oscar winner Jean Dujardin, only screened a reel with eight minutes of footage, and that was enough to spark a bidding war with Drafthouse Films coming out on top with distribution in multiple territories. This comes as Drafthouse Films pick-up of Michel Gondry's Mood Indigo from Cannes in 2013 heads to theaters this summer. So what's this movie?
What are the best films of the festival? Which ones should you be taking an interest in? What should you see? After 12 days at the 67th Cannes Film Festival, after 25 films, it's time to present my 2014 list of my Top 5 Favorite Films. Every year I go back to Cannes, it's genuinely exciting to find out what there is to discover, to wake up every day knowing you may see something breathtaking, or terrible, or hilarious, or moving, or something that will change us forever. This year I was introduced to a few new filmmakers, saw the latest film from many old ones, and caught a glimpse of the future of cinema. Now it's time to introduce everyone else to Xavier Dolan, Ruben Ostlund and the Dardenne Brothers. Let's get right into this list now.
A big win for Turkey. Winners of the 2014 Cannes Film Festival awards, including the coveted Palme d'Or, were revealed at a ceremony today in Cannes featuring Quentin Tarantino, Adrien Brody and plenty others. The big winner: Winter Sleep, a three hour, sixteen minute long Turkish film from filmmaker Nuri Bilge Ceylan, who last brought his masterful Once Upon a Time in Anatolia to Cannes a few years ago. Other key winners include Foxcatcher director Bennett Miller and a tie between 83-year-old Jean-Luc Godard and 25-year-old Xavier Dolan for the Jury Prize. Another excellent year at Cannes ends with deserving winners.
"I could watch you for a lifetime, you're my favorite movie, a thousand endings, you mean everything to me." Here we are at the end again, and while I'm starting to get sad that another Cannes Film Festival is over, I can't help but smile looking back on how wonderful it has been. While I tend to often complain about some of the other critics and their incessant scrutiny or odd moviegoing choices, it was a late night chat with Sasha Stone of Awards Daily and the subsequent blog post she wrote before leaving that made me realize - screw all that. We are truly the lucky ones, sitting here on the Mediterranean, watching the best that cinema has to offer for 12 days straight. Living the life. This is amazing, and I'm so grateful to be here, enjoying this.
The Cannes Film Festival is drawing to a close (check out all our coverage here), and while most of the big players for the coveted Palme d'Or prize have already played, there's at least one more film yet to premiere that still has a chance. Olivier Assayas latest drama Clouds of Sils Maria is debuting in France this week, the story of an aging actress (Juliette Binoche), starring in a new production of a play that made her famous a long time ago. The younger role she played in the beginning of her career has gone to a younger actress (Chloe Grace Moretz), and she finds herself reflecting on the star she used to be. Kristen Stewart also has a prominent role as Binoche's assistant, and she seems to hold her own. Watch!
The days are starting to blur, our conversations are starting to sound like poorly-written SNL sketches. It's Day 9, I think, at Cannes 2014 and we're still here - most of us. Droves of critics who have been going to sleep at 1AM, and waking up at 7AM for the last 8 days straight. We're all exhausted, delirious, starting to forget which films we saw only a few days ago. This is what it's like at film festivals, especially if you stick it out for all 12 days, from the beginning to the end. We all start to burn out after the midway point, but then we see a film that blows us away, reminding us why we travel all the way over here - all for the love of film.
This is the film I was waiting to see at the 2014 Cannes Film Festival. The one that is not only phenomenal in every way, but pushes the form, challenging audiences and cinema as we know it. Quebecois filmmaker Xavier Dolan has returned to Cannes with his fifth feature, titled Mommy, a remarkably entertaining and ravishing work of art about raising a wild teen with ADHD in a fictional Canada. It's breathtaking, beautiful, stimulating and actually takes advantage of the art of visuals and the format of cinema in a remarkable way. Mommy is the masterpiece of Cannes 2014 that I was waiting to fall in love with. Dolan has done it again.