Cannes Film Festival 2017
The Selective Lineup
Melissa George strippiong for Cannes Film Festival?
My God, those are some amazing tits.
Here are the films playing in 2017 Cannes Film Festival
Fatih Akin’s In the Fade.
Nearly a year ago now, Screen‘s Melanie Goodfellow noted that Aus dem Nichts is “about a man who is tipped over the edge by his experiences of prejudice.” With Diane Kruger. Screen‘s Fionnuala Halligan adds that it’s “a thriller set in Hamburg’s German-Turkish community in the immediate aftermath of an explosion.”
Noah Baumbach’s The Meyerowitz Stories.
Deadline‘s Mike Fleming Jr. notes that it’s been “described as an intergenerational tale of adult siblings contending with the influence of their aging father.” With Adam Sandler, Ben Stiller, Dustin Hoffman, Elizabeth Marvel, Grace Van Patten and Emma Thompson. Netflix picked up global rights a few days ago.
Dita von Teese’s HomemadeCannes Film Festival
Robin Campillo’s 120 Battements par Minute.
From Fabien Lemercier at Cineuropa: “Written by the director in collaboration with Phillippe Mangeot, the screenplay is an intimate self-portrait of the ACT UP activist group at the beginning of the 1990s, before the advent of triple therapies.” With Adèle Haenel, Yves Heck and Nahuel Pérez Biscayart.
Sofia Coppola’s The Beguiled.
It’s a “remake of the 1971 Clint Eastwood-starring Southern Gothic film,” wrote Daniel Kreps in Rolling Stone in February, “set in a Virginia all girls’ school in 1864. The Civil War’s final battles play out while the Miss Martha Farnsworth Seminary for Young Ladies is insulated from the violence until a wounded Union soldier [Colin Farrell] is found in the nearby woods. As Farrell’s character recovers, however, he begins to have affairs with at least two of the women (Elle Fanning and [Kirsten] Dunst) at the school.” With Nicole Kidman, too.
Jacques Doillon’s Rodin.
From Wild Bunch: “At 42, Rodin [Vincent Lindon] meets Camille Claudel [Izïa Higelin], a young woman desperate to become his assistant. He quickly acknowledges her as his most able pupil, and treats her as an equal in matters of creation. More than a decade of work and passionate engagement ensues. Breakup follows reconciliation until Camille makes the final separation from which she will not recover, and from which Rodin himself will emerge deeply wounded. The film also recounts the artist’s numerous affairs with assistants and models, as well as his relationship with Rose Beuret [Séverine Caneele], his lifelong partner. We discover Rodin as an erotically charged sensualist, for whom art is a profoundly sexual delight—a sculptor of flesh in movement, who gives life to the very stone itself.”
Michael Haneke’s Happy End.
From Ashley Lee in the Hollywood Reporter: “Written and directed by Haneke, the film is described as a snapshot from the life of a bourgeois European family and stars Jean-Louis Trintignant, Isabelle Huppert, Mathieu Kassovitz and Toby Jones. It’s set against the backdrop of the European refugee crisis…. ‘The film is a portrait of a very wealthy family running this big company in Calais, not far from the camp where the migrants are. And it says a lot about how in our lives, in our privileged world, we are too often deaf and blind to the harsh reality of the world—about the privileged world,’ Huppert told THR of Happy End at the Toronto Film Festival.”
Michel Hazanavicius’s Redoubtable.
From Wild Bunch: “Paris 1967. Jean-Luc Godard [Louis Garrel], the leading filmmaker of his generation, is shooting La Chinoise with the woman he loves, Anne Wiazemsky [Stacy Martin], 20 years his junior. They are happy, attractive, in love. They marry. But the film’s reception unleashes a profound self-examination in Jean-Luc. The events of May ’68 will amplify this process, and the crisis that shakes the filmmaker. Deep-rooted conflicts and misunderstandings will change him irrevocably. Revolutionary, off-the-wall, destructive, brilliant, he will pursue his choices and his beliefs to the breaking point… As he did with The Artist, Academy Award winning director Michel Hazanavicius delivers another tribute to classic cinema, both wildly funny and deeply moving.”
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Hong Sangsoo‘s The Day After.
Naomi Kawase’s Radiance.
From mk2: “Misako is a passionate writer of film versions for the visually impaired. At a screening, she meets Masaya, an older photographer who is slowly losing his eyesight. Misako soon discovers Masaya’s photographs, who will strangely bring her back to her past. Together, they will learn to see the radiant world that was invisible to her eyes.”
Yorgos Lanthimos‘s The Killing of a Sacred Deer.
From the British Council: “The story follows a young man that needs to take revenge, a doctor that has to make a decision, and his family that must survive. A psychological thriller with supernatural elements. Inspired by a Euripides tragedy, the story centers on Steven, a charismatic surgeon, and a teenage boy who seeks to integrate him into his broken family. When the boy’s actions become increasingly sinister, Steven’s ideal life starts to fall apart and he is forced to make an unthinkable sacrifice.” With Colin Farrell, Nicole Kidman, Alicia Silverstone, Barry Keoghan, Raffey Cassidy and Bill Camp.
Anna Paquin – True Blood
Sergei Loznitsa‘s A Gentle Creature.
From Wild Bunch: “A woman lives alone on the outskirts of a village in Russia. One day she receives a parcel she sent to her incarcerated husband, marked ‘return to sender.’ Shocked and confused, the woman has no choice but to travel to the prison in a remote region of the country in search of an explanation. So begins the story of a battle against this impenetrable fortress, the prison where the forces of social evil are constantly at work. Braving violence and humiliation, in the face of all opposition, our protagonist embarks on a blind quest for justice.” With Vasilina Makovtseva, Valeriu Andriuta, Sergei Kolesov and Dimitry Bykovsky.
Ruben Östlund’s The Square.
“A satire on the art world, The Square takes place at a prestigious museum where a famous American contemporary artist, played by Dominic West, is exhibiting his latest work, an installation meant to promote altruism,” wrote Variety‘s Elsa Keslassy at the top of her interview with Östlund in February. “West plays opposite Elisabeth Moss and Claes Bang.”
François Ozon‘s L’amant double.
From Films Distribution: “Chloé, a fragile young woman, falls in love with her psychoanalyst, Paul. A few months later she moves in with him, but soon discovers that her lover is concealing a part of his identity.” With Jérémie Renier, Marine Vacth and Jacqueline Bisset.
Lynne Ramsay’s You Were Never Really Here.
It’s “adapted from a novella of the same name by the American author Jonathan Ames. It tells the story of a war veteran who attempts to save a young girl from a sex trafficking ring,” notes the BFI. With Joaquin Phoenix.
Benny and Josh Safdie‘s Good Time.
Starring Robert Pattinson, the film “follows a bank robber’s race to evade the police dragnet that threatens to send him behind bars,” reported Brent Lang and Elsa Keslassy for Variety in October when A24 picked up North American rights. “Josh and Benny Safdie directed the movie from a screenplay by Josh Safdie and Ronald Bronstein. Good Time also stars Jennifer Jason-Leigh and Barkhad Abdi.” Follow the fan account on Twitter if you’re so inclined.
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Andrey Zvyagintsev‘s Loveless.
UN CERTAIN REGARD
Mathieu Amalric‘s Barbara.
It’s “a fictional tribute to iconic French chanteuse Barbara,” according to Screen‘s Melanie Goodfellow. “Jeanne Balibar co-stars as an actress preparing to play the late singer in a film, studying her character, voice, songs, gestures and character in depth. Almaric co-stars as director Yves who seems equally caught up in the world of the singer, meeting people who knew her and doing archive research. He appears to be obsessed with the character he is creating but it is not clear whether his obsession linked to the late singer or the actress.”
Cecilia Atán and Valeria Pivato’s The Desert Bride.
It “stars Paulina Garcia, a Berlin best actress winner for Sebastian Lelio’s Gloria, as a 54-year-old woman who works as a live-in maid in Buenos Aires,” reports Variety‘s John Hopewell. “When the family sells the house, she is obliged to take a job in the town of San Juan, a provincial capital surrounded by arid plains. It proves her salvation.”
Kantemir Balagov’s Closeness.
1998, Nalchik, the North Caucasus, Russia.
24-year-old Ilana works in her father’s garage to help him make ends meet. One evening, her extended family and friends gather to celebrate the engagement of her younger brother David. Later that night, the young couple is kidnapped, and a ransom demand delivered.
In this close-knit Jewish enclave, involving the police is out of the question. How will the family raise the money to save David? Ilana and her parents, each in their own way, will go as far as necessary, whatever the risks to themselves
Kaouther Ben Hania’s Beauty and the Dogs.
From Fabien Lemercier at Cineuropa: “The story revolves around Mariam, an attractive Tunisian student who had everything planned out: she was going to enjoy an evening of dancing. But it all came crashing down… Despite the trauma she went through, she is determined to press charges. But what can she do when her only chance depends entirely on her attacker?”
Laurent Cantet’s The Workshop.
From Cineuropa: “La Ciotat during the summer. Antoine (Matthieu Lucci) has agreed to take part in a writing workshop, where several young people are being integrated into the world of work by penning a noir fiction with the help of Olivia (Marina Foïs), a widely respected novelist. This writing task will force them to revisit the town’s industrial past and its dockyard that has been shut for the last 25 years—a whole rush of nostalgia that Antoine has no interest in. Feeling more closely connected to the anxieties of the modern world, the young man quickly starts rebelling against the group and against Olivia, who is simultaneously startled and drawn in by Antoine’s violent nature.”
Sergio Castellitto‘s Lucky.
Last year, Camillo De Marco noted at Cineuropa that it “tells the story of a young mother (Jasmine Trinca) with a failed marriage behind her, who fights everyday for her dream: to open a hairdressers by challenging fate, in an attempt to emancipate herself and acquire her independence and the right to happiness. ‘Fortunata (“lucky” in English) is a singular female qualitative adjective in Italian,’ explains the director. ‘But it is also the name of a woman. And above all, a destiny. And that’s not to say that that destiny is deserved. There are men in this story who don’t agree with Fortunata’s happiness. We’ll see how that works out…’”
Michel Franco’s April’s Daughter.
From Ioncinema: “One of Mexico’s most lauded independent filmmakers following the success of his 2012 sophomore film After Lucia (which won the top prize out of Un Certain Regard) and his 2015 film Chronic, which won Best Screenplay at Cannes (and was recently nominated for a pair of Independent Spirit Awards), Franco focuses once more on fractured families with his latest, the tale of a strained mother-daughter reunion instigated by the pregnancy of the younger woman. Emma Suarez of Almodóvar’s recent Julieta stars as the mother.”
Stephan Komandarev’s Directions.
“Based on real events [in Sofia], the script written by Simeon Ventsislavov and Stephan Komandarev interweaves six contemporary taxi drivers’ stories and a free interpretation of Anton Chekhov’s short story ‘Grief,’” reports Film New Europe. “‘I changed the title during the shooting, because I found out that Directions reflects better the heart, the soul and the true dynamics of the film,’ Komandarev told FNE. “Vasil Vasilev-Zueka, Irini Jambunas, Assen Blatechki, Vasil Banov, Gerasim Georgiev-Gero and Dobrin Dosev play the six main characters. Popular Ivan Barnev, Georgi Kadurin, Hristo Mutafchiev, Julian Vergov, Nikolai Urumov, Stefan Denolyubov, Sofia Bobcheva and Stefka Yanorova are co-starring. Vesselin Hristov is the DoP.”
Gyorgy Kristof’s Out.
From Sentimental Film: “The power plant is closing—unemployment takes over a town in eastern Slovakia. Ágoston, a tall, family man in his 50s ventures through eastern Europe in desperate attempt to get a job and fulfill his dream—to catch a big fish. In Baltic, he finds himself alone and deserted. His voyage leads him deeper and deeper into the ocean of bizarre events and encounters, with tall friendly woman, Russian friend with unfriendly intentions, and sad stuffed earless rabbit. Waves grind on sandy beaches and return to sea. New wave comes to wipe off the preceding one. The sea doesn’t end here and it definitely doesn’t start here.”
Kiyoshi Kurosawa‘s Before We Vanish.
From Wild Bunch: “The internationally acclaimed director of Tokyo Sonata and Journey to the Shore reinvents the alien movie as a unique and profoundly human tale of love and mystery. Three aliens travel to Earth on a reconnaissance mission in preparation for a mass invasion. Having taken possession of human bodies, the visitors rob their hosts of the very essence of their being—all sense of good, evil, property, family, belonging—leaving psychological and spiritual devastation in their wake.”
Santiago Mitre’s The Summit.
From Binquin Black at the IMDb: “The president of Argentina, Hernán Blanco, is facing a very important decision. He is participating in a meeting between different state leaders, which takes place in La Cordillera. From there, in the middle of the Summit of Latin American presidents, he will have to be able to solve a very complicated personal matter that can affect both his private and public life.” With Ricardo Darín, Christian Slater, Paulina García and Elena Anaya.
Karim Moussaoui’s The Nature of Time.
From mk2: “Algeria today. Past and present collide in the lives of a newly wealthy property developer, a young woman torn between the path of reason and sentiment and an ambitious neurologist impeded by wartime wrongdoings. Three stories that plunge us into the human soul of a contemporary Arab society.” With Mohamed Djouhri, Aure Atika, Sonia Mekkiou and Mehdi Ramdani.
Léonor Serraille’s Jeune Femme.
The story centers on Paula, according to Fabien Lemercier at Cineuropa. “Joachim, an artist with whom she has shared the last ten years of her life, has just left her, and she finds herself on the streets of this new part of Paris she had followed him to. But Paula is not a melancholic woman, and so she chooses to stay, to be swallowed up by this unknown city, which is so attractive and so abusive at the same time. She is so close to her obsession, her goal, Joachim, but is invisible to him. But her solitude, odd jobs, fleeting encounters and her own bedroom flip everything she knows for certain on its head.” With Laetitia Dosch, Souleymane Seye Ndiaye, Grégoire Monsaingeon, Léonie Simaga and Erika Sainte.
Annarita Zambrano’s After the War.
At Cineuropa, Fabien Lemercier tells us that the story “begins in 2002, as the murder of a labor court judge reopens old political wounds between Italy and France. Marco, a journalist and former left-wing activist taking refuge on the other side of the Alps during the Mitterrand presidency, is forced to flee with his 15-year-old daughter. In a remote, isolated house somewhere in the depths of the Landes forest, their lives will be turned upside down forever, as they also sweep along Anna and her everyday middle-class life, and she finds herself in Rome paying for the mistakes that her brother made in the past.” With Giuseppe Battiston, Charlotte Cétaire, Maryline Canto and Jean-Marc Barr.
OUT OF COMPETITION
Arnaud Despleschin’s Les fantômes d’Ismaël.
From Wild Bunch: “Ismaël Vuillard makes films. He is in the middle of one about Ivan, an atypical diplomat inspired by his brother. Along with Bloom, his master and father-in-law, Ismaël still mourns the death of Carlotta, twenty years earlier. Yet he has started his life over again with Sylvia. Sylvia is his light. Then Carlotta returns from the dead. Sylvia runs away. Ismaël rejects Carlotta. Driven mad by these ordeals, he abandons the shoot for his family home in Roubaix. There, he lives as a recluse, besieged by his ghosts.” With Mathieu Amalric, Charlotte Gainsbourg, Marion Cotillard and Louis Garrel.
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Takashi Miike‘s Blade of the Immortal.
It’s “about a warrior cursed with immortality who cannot free himself unless he kills 1,000 evil men,” according to Vikram Murthi at IndieWire. “Based on the manga by the same name, the film stars Hana Sugisaki, Ebizô Ichikawa, Sôta Fukushi, Hayato Ichihara, Erika Toda, Kazuki Kitamura, Min Tanaka, Takuya Kimura and Tsutomu Yamazaki.”
John Cameron Mitchell‘s How to Talk to Girls at Parties.
A24 tells us that it’ll take us “to an exotic and unusual world: suburban London in the late 70s. Under the spell of the Sex Pistols, every teenager in the country wants to be a punk, including our hopeless hero Enn (Alex Sharp). Crashing local punk queen Boadicea’s party, Enn discovers every boy’s dream—gorgeous foreign exchange students. When he meets the enigmatic Zan (Elle Fanning), it’s love at first sight. But these teens are, in fact, aliens from outer space, sent to Earth to prepare for a mysterious rite of passage. When their dark secret is revealed, the love-struck Enn must turn to Boadicea (Nicole Kidman) and her followers for help in order to save the girl he loves from certain death. When the punks take on the aliens, neither Enn’s nor Zan’s universe will ever be the same again.”
Roman Polanski’s Based on a True Story.
Emmanuelle Seigner as a Parisian author with writer’s block who discovers a mysterious woman—played by Eva Green—at a book signing,” reported Variety‘s Dave McNary in February. “Olivier Assayas and Polanski adapted the movie from Delphine de Vigan’s novel of the same name.” Sony Pictures Classics has picked up North American rights.
Jane Campion and Ariel Kleiman’s Top of the Lake: China Girl.
Nicole Kidman again! Elisabeth Moss is back “as Detective Robin Griffin, who returns to Sydney from New Zealand shortly before the body of an Asian girl washes up on Bondi Beach,” noted Michael Nordine at IndieWire in December. “Robin, top-tier gumshoe that she is, realizes that ‘China Girl’ didn’t die alone; one presumes that things get thornier and stranger from there. Kidman, meanwhile, is to co-star as an Australian mother named Julia whose own story intersects with Robin’s.”
Two episodes of David Lynch‘s Twin Peaks.
Hardly needs an introduction. After 25 years, the landmark show returns, with the first episode airing on Showtime during the festival on May 21.
Jung Byung-gil’s The Villainess.
AsianWiki: “Sook-Hee (Kim Ok-Vin) is a killer. She was raised and trained in Yanbian, China. She hides her real identity as a killer and comes to South Korea. She dreams of having a different type of life, but she becomes involved with two men. Joong-Sang (Shin Ha-Kyun) is a mysterious man who trains killers and Hyun-Soo (Sung Joon) watches Sook-Hee.”
2017 CANNES DIRECTORS’ FORTNIGHT LINEUP
(The Directors’ Fortnight runs May 18-28.)
Sharunas Bartas’s Frost.
KinoElektron tells us that it’s “the story of Rokas, a young Lithuanian man, who wanted to understand war in order to understand his people. On a convoy transporting humanitarian aid from Lithuania to the Ukraine, he meets a couple of reporters, a Man and a Woman, with whom he continues the road. The trio will be forced to overcome their psychological limits and build a strong relationship, their only solid ground in the midst of the turmoil of the war. They do not agree upon anything, except for their wish to be where they are, each for their own reasons.”
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Jonas Carpignano‘s A Ciambra (Young Lions of Gypsy).
Ioncinema‘s Eric Lavallee has the short synopsis for this followup to Mediterranea (2015): “Pio is a young Romani boy living in southern Italy who must decide how far he is willing to go to keep his family together and repay his brother’s debt.”
Claire Denis’s Let the Sunshine In (Un beau soleil intérieur).
In January, Jordan Raup noted at the Film Stage that it’s an adaptation of Roland Barthes’s A Lover’s Discourse: Fragments, “which deconstructs the language of love.” Derek Tsang and Jimmy Wan based a film on the book in 2010, telling four interconnected tales of love. Once again, Denis is working with cinematographer Agnès Godard. Update, 4/25: “I think a lot of people will be surprised by the Denis film,” Fortnight artistic director Edouard Waintrop tells Jordan Mintzer in the Hollywood Reporter. “It has this funny and very ferocious sense of humor, but it’s also extremely profound in what it says about the solitude of a woman who wants to control her own destiny.” Update, 4/26: As Sam Warner reports for Screen, the English-language title has been changed to Let the Sunshine In. Warner has a first image from the film as well.
Vladimir de Fontenay’s Mobile Homes.
“The drama based on his short film of the same name follows a young drifter and her dangerous boyfriend and young son who reappraises her role as a mother when she lands in a mobile home community,” noted Screen‘s Jeremy Kay last year. With Imogen Poots, Callum Turner and Callum Keith Rennie.
Roberto De Paolis’s Cuori Puri.
From Filmitalia: “Agnese and Stefano are profoundly different. She is only seventeen, lives with her mother—a harsh but devoted woman and a regular church-goer—and is about to take a vow of chastity to last until marriage. He is a 25-year-old man, with a violent temper and a difficult past behind, who works as a warden in a car park that borders with a gypsy camp. Their unexpected meeting engenders a sentiment of purity, made of little stolen moments and mutual help. But when they make love for the first time, Agnese’s illusion of purity is shattered. She experiences a deep sense of betrayal towards her ideals, which leads her to take an extreme decision in the hope of erasing her sin.”
Leonardo Di Costanzo’s L’intrust.
Again, Filmitalia: “L’intrust is a tale of conflict and danger set in present day Naples. Like a modern Antigone, a social worker on the frontline of the daily war against criminal mentality is confronted with a moral choice that can destroy the sense of her work and her life forever.” The DP is Hélène Louvart.
Philippe Garrel‘s L’amant d’un jour.
Garrel’s In the Shadow of Women, which opened the Directors’ Fortnight in 2015, was written with Jean-Claude Carrière, Caroline Deruas and Arlette Langmann, “the same trio he is working with on his new opus,” as Fabien Lemercier reported at Cineuropa last year. This will be “the story of a father and his 23-year-old daughter—who comes home one day because she has just been jilted and the father’s new partner, who is also 23 years old and lives with him.” With Eric Caravaca and Esther Garrel.
Carine Tardieu’s Ôtez-moi d’un doute.
From the IMDb: “When 45 year old widower Erwan [François Damiens] discovers by accident that the man who raised him isn’t his real dad, he begins a search for his biological father. He soon locates the mischievous, 70 something Joseph [André Wilms], whom his mother knew briefly. Erwan falls not only for his charm, but that of the impetuous Anna [Cecile De France], who has ties to them both. The conflicting familial loyalties soon become compounded by the pregnancy of his own daughter Juliette [Alice de Lencquesaing], who defiantly refuses to name the father.”
2017 CANNES CRITICS WEEK LINEUP
(The Critics’ Week Lineup runs May 18-26.)
Fellipe Gamarano Barbosa’s Gabriel and the Mountain.
Captures a young idealist’s journey to Africa, as he believes his commitment and sense of charity able to change the world. Despite the spectacular landscapes and the generous and sympathetic encounters, Gabriel stays trapped in his certainties as civilized man.
Atsuko Hirayanagi’s Oh Lucy!
A delicious bitter-sweet comedy about hearts hesitating between Japan and the United States. Three Japanese women, an American friend and a Japanese one join hands in this awkward trip. It is also a privilege to meet again with actor Josh Hartnett, along with wonderful actresses and the impressive Yakusho Kôji, who played in The Eel by Imamura, Palme d’or in 1997.
Léa Mysius’s Ava.
A marvelously luminous film, both sensual and lyrical, a combination of sweet feeling and joyful fancy. In her debut feature, Léa Mysius draws the portrait of our era, that of a generation facing the fear of a bleak future. Embodied by the fascinating actress Noée Abita, the heroine learns how to contain her personal demons, to take up challenges, she finds love and eventually confronts life.
Marcela Said’s Los Perros.
Through a surprising and unpredictable female protagonist, the film settles accounts with the remains of the Pinochet dictatorship and the prevailing hypocrisy. Courageous, upsetting, bold, the film confirms its director’s talent, following her acclaimed The Summer of Flying Fish.
Hubert Charuel’s Bloody Milk.
Charuel places the camera at the heart of rural surroundings. Pierre, in his thirties, is a farmer. His life revolves around his farm, his cows, until misfortune strikes. The thriller is carried by the extraordinary Swann Arlaud, whose intense performance keeps the spectator in suspense. Profoundly humanistic, sometimes funny, the film plunges us in the everyday life of an endangered profession.
Thierry de Peretti’s A Violent Life.
An immersion into the political and historical dimension of Corsica. The compelling story follows Stéphane’s cautionary path, leading from political radicalization to clandestine and eventually to his being banished from the community. A gangster and mafia film, remarkably performed by non-actors who instills a mind-blowing realism.