Trashy, goofy, and surprisingly sincere, this superhero fantasy is better than you expect but not as good as it should be.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with Olivier Assayas, writer/director of "Personal Shopper."
A CIFF 2016 dispatch on David Singer's "Imperfections" and Anne Zohra Berrached's "24 Weeks."
A dispatch on three films from TIFF from around the world.
A set report from the most expensive film yet made in Romania, "Octave."
Ken Loach's "I, Daniel Blake" wins the Palme d'Or at the 69th Cannes Film Festival.
Reviews from Cannes of Cristian Mungiu's "Graduation" and Nicolas Winding Refn's "The Neon Demon."
A preview of Cannes 2016.
An interview with Corneliu Porumboiu, writer/director of "The Treasure."
Barbara Scharres reports on the winners at the Cannes Film Festival.
Ben Kenigsberg makes his predictions for Sunday night's Cannes awards.
Power is rarely discussed at Cannes, and it’s ostensibly all about art, although careers can hang on critics’ approval, and whether films are sold here, and to how many regions of the world. The annual jury press conference on the opening day is the first and foremost love-fest in which the concept of competition is downplayed and jurors find novel ways to sidestep the question of comparing one film to another in order to award the Palme d’Or in ten days.
Marie writes: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
(click to enlarge)
When: Through Oct. 25
Beasts of the Southern Wild
• Chaz Ebert in Cannes
The Cannes 2012 Palme D'Or was indeed won Sunday by Michael Haneke for "Amour," the best film in the festival. And what an emotional moment to see its two stars, Jean-Louis Trintignant and Emmanuel Riva walk up on stage with Haneke to accept the award. A juror, Jean-Paul Gaultier said they gave the most emotionally real performances of any film in the festival. He said he bawled his eyes out. This was the second time in three years that Hakeke won the Palme, after "The White Ribbon" in 2009.
And surprisingly, three out of four of my award speculations also won prizes. However, if you listened carefully to the reasoning of the Jury you can conclude that actually all four of the lineup would have won.
The 65th Cannes Film Festival's eleven days of prediction, wild speculation and gossip, some of it centering on the notoriously cranky personality of this year's jury president Nanni Moretti, came to an end Sunday evening in festival's business-like awards ceremony (or Soiree de Palmares, as the French call it) that traditionally lacks the extended let's-put-on-a-show aspect of the Oscars. The jury was seated onstage in a solemn group, and the awards given with a modest amount of fancy-dress formality, a bit of unrehearsed fumbling, and acceptance speeches that were short, dignified and to the point.
The foul weather that has marred the usually sunny festival continued to the end, and elite guests and movie stars alike walked a red carpet tented by a plastic roof as the rain fell on the multi-colored umbrellas of the surrounding crowds. Festival director Thierry Fremoux personally held an umbrella for Audrey Tautou, star of Claude Miller's closing night film, "Therese Desqueyroux," as she headed up the famous steps in a calf-length ivory lace gown with a bodice heavily embroidered in gold.
Actress Berenice Bejo, an international sensation since her starring role and subsequent Oscar nomination for "The Artist," performed mistress of ceremonies duties in a white, bridal-looking strapless sheath with long train, her only jewel an enormous heart-shaped emerald ring. Just about the only prediction this year that turned out to be accurate was the one that advised that all was unpredictable under the jurisdiction of the pensive and often-scowling Moretti.
Every day at the Cannes festival opens up the possibility of surprises, upsets, or major revelations. As Peter O'Toole in "Lawrence of Arabia" said, "Nothing is written." Film history is made here all the time, and I think some history was made today with the international debut of the American independent film "Beasts of the Southern Wild," by Benh Zeitlin, screening in the "A Certain Regard" section of the festival.. A first feature, it competes for the Camera d'Or. The world premiere was at Sundance back in January (where it won the Grand Jury Prize), but the high profile Cannes exposure will surely bring the film and its young star the worldwide attention it deserves.
"Beasts of the Southern Wild" is set in a wild coastal swamp on the Gulf coast, in a watery area referred to as "the Bathtub," where the towers and smokestacks of chemical plants and refineries spread across the distant horizon. It's a post-Katrina allegory that adopts many of the real-life images and circumstances of that disaster to create a purely mythic fable full of visceral visions, primal emotions, and haunting reminders of the inescapable cycle of birth, life, death, and decay.
At the center of the film is Hushpuppy, a feisty, unafraid six-year-old who lives with her sickly and often unstable dad in an isolated wilderness squatters' community where they live off the land by trapping and fishing. Their home, such as it is, is the wreck of a small ramshackle trailer; their boat is the bed of an old pickup truck floating over 55-gallon drums. That mankind lives within nature's unforgiving food chain is a daily reality for these two. As Hushpuppy's teacher Miss Bathsheba reminds her handful of students, "Everything that lives is meat. I'm meat; y'all's asses is meat; all part of the buffet of the universe."
In just a week the French Riviera will come alive with the hoopla of the 65th Cannes International Film Festival, running this year from May 16 through 27. Despite the international proliferation of film festivals, like it or not, Cannes remains the biggest, most hyped, glitziest and most diverse event the world of film has to offer, the envy of every other festival.
As if the world at large also trembled at the import of the approaching festivities, previous Cannes festivals have been prefaced by volcanic eruptions, hurricane-force storms, national strikes, and bomb threats. What can we expect this year, when the festival officially becomes a senior citizen? Don't look for any rocking chairs along the Croisette, for one thing. Judging by the lineup of major directors represented in the Competition and other official sections, it's more likely that major revelations will be rocking the Palais. And if it's like other years, we can expect the festival will manage to rock a headline-grabbing major controversy or two as well.
For the fourth year in a row, Cannes will open with an American production, Wes Anderson's "Moonrise Kingdom," guaranteeing that name stars including Bruce Willis, Bill Murray, Edward Norton, Frances McDormand, and Tilda Swinton will be gracing the red carpet on Wednesday, May 16 for a glamorous kick-off. Judging by the trailer available online, the real stars may be the large cast of kids in a comedy/drama that looks to be strong on surreal wackiness.
Even a quick glance at the list of films in competition yields an eye-popping number of famous names, including David Cronenberg (Canada), Michael Haneke (Austria), Abbas Kiarostami (Iran), Ken Loach (UK), Cristian Mungiu (Romania), Alain Resnais France), Carlos Reygadas (Mexico), Walter Salles (Brazil), and many more. This competition could be a veritable Olympics of the cinema gods...or not, as sometimes happen, because even world-class filmmakers and certified masters can disappoint.
Another much-anticipated film by one of the big names in this year's Cannes competition premiered this morning -- "Melancholia" by Lars von Trier. It's no secret that this apocalyptic science fiction drama ends with the destruction of the earth, since that is revealed in the first few minutes of the film. The character played by Charlotte Gainsbourg, neatly summarizes von Trier's dark pessimism with the line, "The earth is evil; we don't need to mourn for it." What is rather amazing is that a film about the destruction of all life (and von Trier posits that we are alone in the universe) could be so turgid.
That said, I think I rather prefer von Trier's wacko view of the cosmos in "Melancholia" to Terrence Malick's in "The Tree of Life." With the ingredients von Trier had to work with, it's surprising that he didn't make a better film. Following the various forms of desecration and transgression that are the hallmarks of "Antichrist," it's as if he felt the need to top himself with an even more outrageous concept, but forgot to figure out what the outrageous part would be.
"Melancholia" examines the relationship of two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) in the final days before the planet named Melancholia is due to collide with the earth. The story falls into two parts. The first is named for Justine, who is blonde, conventionally pretty, and mentally unstable. The second is named for Claire, who is Justine's opposite in every way, not only in her lean, dark-haired appearance, but in her down-to-earth competence in managing the stuff of life.
With departure for Cannes only days away, the specter of drifting volcano ash inspires its own shivery anticipation of the festival, and not in a good way. Cannes is a convention city year around, and a new festival or international congress moves in pretty much as soon as the previous one moves out. It's not like you could extend your hotel stay on the spur of the moment, and at Riviera prices, who would want to?
I'm hoping the only eruptions are of the cinematic kind. For two weeks every May, the Cannes Film Festival is like a volcano blowing its top, spewing new movies day and night. In view of this massive flow, it's a rather silly insiders' game to speculate on good years vs. bad years. With hundreds of films to choose from, taking into account the official selections and the film market, this huge festival is what you make it. Every year is a good year. Looking for great art? There's always some to be found. Looking for low-down-sleaze? There's more of that than you even want to know about. Looking for new films from Latvia, for instance? Take your pick, and get the scoop on the state of the Latvian film industry from an eager sales agent while you're at it.
Every year as Cannes looms, I'm reminded of the puckish advice of British director Mike Leigh ("Happy-Go-Lucky," "Vera Drake"), pronounced many years ago when he was on the festival jury. At the jury press conference, Leigh was asked about his expectations. "The festival is like a lemon," he said, "you just have to suck it and see how it tastes." As luck would have it, Leigh will be premiering his new film "Another Year" in the competition. I'm looking forward to seeing what flavor this one adds to the festival.
Critical polls conducted by Film Comment, indieWIRE, the Village Voice/LA Weekly, Cahiers du Cinéma and now the Los Angeles Film Critics Association have all chosen David Lynch's 2001 "Mulholland Dr." as the best movie of the decade.
UPDATE 2/12/10: The Muriels and Slant Magazine also choose "Mulholland Dr." as best of the Aughts.
Full list below...
Justin Chang writes at LAFCA.net:
Call us provincial -- David Lynch's psychoerotic noir is one of the essential L.A. movies -- but the more significant reason for the film's enduring critical favor may be its deconstruction of the toxic allure of the Dream Factory. "Mulholland Dr." projects an ambivalence toward Hollywood with which almost any critic can identify: Moving images have the power to seduce and move us, but many of them are the products of a system that routinely turns dreams into nightmares and artists into meat. Famously salvaged from a rejected TV pilot, Lynch's film stands as both a cautionary tale and a mascot for the triumph of art and personal vision in an industry that, from where we sit, often seems actively devoted to the suppression of both. [...]
Yes it is, I'm afraid. Or almost. Good grief, I know, it's not even Thanksgiving yet and they've already got the festive "Best Of" decorations up in the stores! And I know lots of critics who've been told by their editors to start working on their big '00s lists -- so, reluctantly, I've begun to ponder mine, as well. I haven't even taken a first stab at it but I can tell you this: It will probably not resemble the Top 100 list published a few days ago in the Times of London. Oh, sure, I can conceive of putting together some kind of list that includes "Crash" (#98), "Bowling for Columbine" (#77), "The Diving Bell and the Butterfly" (#28), "Slumdog Millionaire" (#6) and the like -- but such a ranking would not be comprised of movies that I hold in high esteem. (Have any of the decades' movies plummeted in reputation more dramatically than "Columbine" and "Crash"?)
If you want to page through the Times' list, you can go ahead and start here. It's not all so bad. Meanwhile, here are the top 20 -- with links to things I've written about some of the titles:
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.
View image Conspiracy or coincidence? "There Will Be Blood" opened nationwide on Friday and won the Village Voice/LA Weekly film poll and the National Society of Film Critics poll the same weekend! What can it mean?
"There Will Be Consensus": That was the headline for the intro by Village Voice film critic (and self-described "lapsed structuralist") J. Hoberman, accompanying the results of the annual film critics' poll co-sponsored by the Village Voice and the L.A. Weekly, which are both published by Village Voice Media (along with the SF Weekly, Seattle Weekly, Kansas City Pitch, Nashville Scene, Cleveland Scene, Dallas Observer, Miami New Times, Phoenix New Times, Minneapolis/St. Paul City Pages, and several more). Unless you read the same piece by Hoberman in the LA Weekly, in which case the headline was "If It Bleeds, It Leads." I don't know what the headline was in those other weeklies, but you can look it up if you like.
Here, then, is the bleeding consensus, which is, as you might expect, practically everything you would expect in a consensus -- which is to say hardly anything that you would not expect. (Like Iowa.) 1. "There Will Be Blood" (Paul Thomas Anderson, USA) 2. "No Country for Old Men" (Joel & Ethan Coen, USA) 3. "Zodiac" (David Fincher, USA) 4. "4 Months, 3 Weeks and 2 Days" (Cristian Mungiu, Romania) 5. "I'm Not There" (Todd Haynes, USA) 6. "Syndromes and a Century" (Apichatpong Weerasethakul, Thailand/France/Austria) 7. "The Diving Bell and the Butterfly" (Julian Schnabel, France/USA) 8. "Killer of Sheep" (Charles Burnett, USA, 1977) 9. "Ratatouille" (Brad Bird, USA) 10. "Colossal Youth" (Pedro Costa, Portugal/France/Switzerland)No surprises there -- at least not if you've been paying any attention to mainstream movie reviews coming out of New York, Los Angeles or the major international film festival circuit (Cannes, Telluride, Toronto -- the launching pads for most of the above) in both 2006 and 2007. Compare to the indieWIRE poll results, which are almost identical -- with late-December opener "The Diving Bell and the Butterfly" at #13 (IW) instead of #7 (VV/LA); "Assassination of Jesse James" at #7 (IW) instead of #12 (VV/LA); and -- the most dramatic difference! -- "Ratatouille" at #20 (IW) instead of #9 (VV/LA).
I wonder: Were it not for DVDs -- especially DVD critics' screeners -- and, to a lesser extent, On Demand distribution channels like HDNet and IFC First Take, how many of these films would have had the chance to become critical favorites outside of New York (and maybe LA) by the end of 2007? What are the odds that films that never even played theatrically in more than one or two American towns ("Syndromes and a Century," "Colossal Youth"), or that don't open in more than a few until 2008 ("There Will Be Blood," "4 Months, 3 Weeks, 2 Days," "The Diving Bell and the Butterfly") would have placed so strongly in national critics' polls with mid-December deadlines? I think I'm impressed... unless, wait a minute, the success of such films is actually further evidence of insular critical hype and inbred groupthink. But why choose to think of it in that way?
From this link you can see all the vote-getters by category (feature films, performances, documentaries, first films, undistributed films, worst film), or look at the individual contributors' ballots here. Including mine, although I immediately regretted impulsively citing "Southland Tales" as the "worst" movie I saw in 2007 and still do. I'd much rather make a case against the bloodless literalism of "Sweeney Todd" (musically, sexually and politically neutered) or "Youth Without Youth" or "The Diving Bell and the Butterfly." But let's keep things in perspective. None of those movies expressed a cinematic worldview quite as reductive as those reviews of "No Country for Old Men" that invoked this year's most hackneyed substitute for criticism, summarized in this clip from Hoberman's intro: In formal terms, the Coen brothers' latest pinball machine is obviously superior to 90 percent of the year's releases. But it's also a soulless enterprise, with nothing more on its mind than the expert manipulation of the spectator, critics included.The Voice didn't run a Hoberman review of "No Country for Old Men" (it reprinted Scott Foundas's admiring piece from the LA Weekly), so we may never know more precisely what Hoberman thinks he is "obviously" saying about the movie, or the movies, or himself. (Some of my responses to similar autonomic spasms can be found here and elsewhere. In what language can something that is "obviously superior to 90 percent" of movie recent releases "in formal terms" be considered the equivalent of a "pinball machine" -- one that manipulates instead of being manipulated? What is the nature or significance of such "formal" superiority if we're drawing comparisons between movies and pinball machines? Is a wristwatch formally superior to a Mondrian? Which one? Why? The answer, obviously, is Salvador Dali's 1937 movie script for the Marx Brothers, "Giraffes on Horseback Salad.")
Hoberman offers the opinion that "NCFOM" might well be his choice for the year's "Most Overrated" picture if there were such a category as that. And in his next paragraph he announces he's pleased that the strenuously over-praised and over-maligned "Southland Tales" tied with the comparably ambitious and significant "The Bucket List" for the year's Worst Film -- though each really only received five votes -- just ahead of "300" and "Hostel: Part II" with four each, and "Juno," "Margot at the Wedding," "Redacted" and "Trade" with three): You know something's happening when "Southland Tales" also headed three critics' lists as the year's Best Film [Melissa Anderson, Bill Krohn, Nathan Lee]. Time constraints have made it impossible to calculate the 2007 poll's Passiondex— my formula to measure the degree of ardor with which critics voted for particular movies—but my heart tells me that "Southland Tales" is the obvious winner. Here is a movie that some people love and others love to hate. That's double passion! And that's good.Yes, doubleplusgood passion. Something must be happening. Hoberman predicts that Pedro Costa's "Colossal Youth" (#10) might have been the year's choice for Worst Film "had more critics seen it" ... although, in fact, nobody did vote for it in that category, including critics who had seen it. This makes me wonder if, perhaps, there might have been any other films this year that some critics loved and others just hated... Nah.
by Roger Ebert