Not only is it a one-joke characterization, the joke is on the level of a below-average knock-knock joke.
* 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.
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.
by Barbara Scharres
Cannes has become hot and uncomfortably muggy in a way that has me thinking longingly of the blankets and socks of earlier in the week. As the festival closes in on the final days, I'm hoping for some big excitement on the screen.
When the stiff, futuristic Brandon Cronenberg film "Antiviral" played a few days ago, it gave me cause to look forward even more to today's premiere of "Cosmopolis" by his father David Cronenberg, anticipating that the contrast between generations would also point up the difference between a wannabe and a seasoned master. Boy, was I wrong. I'm sorry to say that they're both among the worst films I've seen here this year. I've never been this disappointed in a David Cronenberg film.
"Cosmopolis" opens with a shot of a row of white stretch limos parked on a city street. The interior of one of them will become a primary location in this film, functioning as the office away from the office for mega-millionaire money manager Eric Packer (Robert Pattinson), an arrogant and powerful 28-year-old. Seemingly inspired by the Occupy movement in the U. S., the story is set in New York in the near future (although what we see of the urban landscape never looks like anything but Toronto; even the CN Tower is seen in the background). The president of the United States is due at any moment, a situation tying up the streets with blockades and large-scale protests.
Above: Bill Murray, madras paparazzo. (AP photo)
The pizza they make in Cannes is unique: a less-is-more creation that is flat and crispy, thoroughly Mediterranean and packed with Riviera flavor. Alleged "European-style" pizzas peddled in the U. S. never seem to achieve that micron-thin crust covered by the faintest wash of tomato sauce, a mere garnish of cheese, and earthy ingredients that can include artichokes or thinly sliced eggplant, generous oregano, and tiny Cannes-grown olives (complete with pits). It's seared in an oven at an impossibly high temperature so that that everything melds into a glorious crackly flatbread that has nothing in common with the doughy excess of American pizza.
The opening day of the 65th Cannes Film Festival is a little like that local pizza, tasty and unique, providing a full range of experiences with just a few carefully chosen ingredients. The various competition events will be in full swing starting tomorrow morning, so today functions as a bit of an appetizer.
Even as festival workers were putting the final touches on the red carpet covering the famed steps up to the Grand Theater Lumiere for tonight's gala festival opening, the opening film, Wes Anderson's "Moonrise Kingdom," was previewing for the international press at the Debussy Theater next door. Although Anderson is the darling of many critics, the only film of his that I've previously warmed up to was his droll animated feature "Fantastic Mr. Fox." "Moonrise Kingdom" had me enthralled from the first frame, and made me think that I need to take another look at his earlier work.
Please remember to check the official CIFF website for ticket information, updates and schedule changes.
The Closing Ceremony of the 64th Cannes International Film Festival took place today in the Grand Theatre Lumiere in the Festival Palais at 7:15 pm French time.
Since I had already left the festival on Friday, I was watching online as Jane Fonda slithered up to the microphone to present the Palme d'Or, looking like a
It's Friday the 13th in Cannes, and that has got to mean something good. An overcast sky threatening rain means that there couldn't be a more perfect day to stay inside and watch movies.
The morning began with the 8:30 am press screening of Nanni Moretti's "We Have a Pope." Hmm...a comedy/drama about the Vatican by a self-professed Italian atheist? Moretti is known primarily for his wry, intellectual, and largely autobiographical approach to comedy in films including "My Diary" and "April, " but also for serious drama in films including his 2001 Palme d'Or winner "The Son's Room." Subjects he has often lampooned include leftist politics, psychoanalysis, water-polo, and the cinema itself.
In "We Have a Pope," the funeral of a dead pope has just taken place and the College of Cardinals is convening to elect the new pontiff from among their number. Moretti goes to great lengths to represent this ritual gathering with great accuracy, but injecting an escalating number of comic moments as the film traverses from the ceremonial pomp of its opening scenes to take on a lighter tone.
As if the voting for a pope were an elementary school spelling test, the prelates cross out names on their ballots, look to heaven for guidance, and even cheat, some slyly spying on what a neighbor seated to the left or right is writing. After a few rounds of voting, the winner is revealed to be a candidate who was not even in the running, a stunned Cardinal Melville (surely Moretti's tip of the hat to iconic French director Jean-Pierre Melville), played by veteran French star Michel Piccoli.
Marie writes: Ever since he was a boy, photographer John Hallmén has been fascinated by insects. And he's become well-known for photographing the creatures he finds in the Nackareservatet nature reserve not far from his home in Stockholm, Sweden. Hallmén uses various methods to capture his subjects and the results are remarkable. Bugs can be creepy, to be sure, but they can also be astonishingly beautiful...
Blue Damsel Fly [click to enlarge photos]
CANNES, France – There are entries that have been liked and even loved, but the 2006 Cannes Film Festival reaches its halfway mark looking like a fairly lackluster year. Only Pedro Almodovar’s “Volver,” a high-spirited memory inspired by his childhood in La Mancha, has been embraced by critics and audiences. “Volver” means “to return,” and resembles in its exuberant nostalgia Fellini’s “Amarcord” (“I Remember”).
TORONTO--Through the cloud of sadness which has enveloped the Toronto Film Festival since Tuesday, a few films have shone like beacons.
CANNES, France -- The old men still have the right stuff. Jean-Luc Godard at 70 and Jacques Rivette at 73, two founders of the French New Wave, have returned in triumph to Cannes with their new films for Rivette, the first in 10 years. And three younger rebels also scored, as this year's festival bounced back from its early doldrums. Sean Penn's "The Pledge" and David Lynch's "Mulholland Drive" were cheered, and the Italian director Nanni Moretti is a front-runner for a major prize after the premiere of his "The Son's Room."
CANNES, France-- Forty-one years after his "Breathless" swept in the French New Wave and helped herald the modern era of filmmaking, Jean-Luc Godard is back at the Cannes Film Festival with a new movie. The onetime enfant terrible is now 71, and the 1960s "film generation" that marched under his banner is old and gray, but his very presence inspires a certain trembling in the air as the 54th Cannes festival opens. The giants are back in town.
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
The 1994 Chicago International Film Festival will kick off its 30th anniversary season on Thursday with the Midwest premiere of Woody Allen's "Bullets Over Broadway." Its star, Chicago native John Cusack, will be in attendance. The festival will end 18 days later, on Oct. 23, with the world premiere of David Mamet's "Oleanna," based on the play about political correctness that has inflamed theater audiences.