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Cannes Film Festival
The Festival de Cannes announced this morning that two-time Oscar winner Cate Blanchett will be the President of the Jury of the 71st edition of the famed international film festival. In a statement issued by the festival Blanchett remarked, “I h…
The opportunity to sit on the Competition jury of the Cannes Film Festival is a dream for any cinephile (hey Thierry Fremaux, give me a call!). It’s an opportunity to experience some of the finest cinema the world has to offer, all in one shot, a…
Not least among the many things to admire in Iranian director Mohammad Rasoulof‘s “A Man of Integrity,” which won the top prize in Cannes‘ Un Certain Regard sidebar this year and also picked up best Director and Actor at the Ant…
All year long, movie studios have been griping privately and publicly griping about movie critics, their impact on Rotten Tomatoes scores, and resulting box office disappointment that follows when — shocker — audiences decide to not see poorly reviewed movies. With big money on the line, especially when it comes to blockbusters, studios are already thinking about trying to curb when critics see movies, and when they post their reviews. But the “Rotten Tomatoes” effect is a bit of #fakenews. Continue reading Cannes Film Festival Taking Aim At Critics In Proposed Shakeup at The Playlist.
Jane Campion has helped to pave the way for women in her field since the early 1980s. As much as it would be nice to overlook Campion’s gender, the industry appeared both unable and unwilling to do so in the past. Since its inception in 1929, only 4 women have been nominated for an Academy Award for Best Director, Jane being the second. Campion appeared at the Film Society of Lincoln Center last week to chronicle her astonishing career, discuss her love of David Lynch and what it really means to be a filmmaker. Continue reading Jane Campion Talks Her Career and ‘Top Of The Lake: China Girl’ at The Playlist.
The spring at Cannes, that battle between streaming and theatrical erupted, and became one of the central talking points on the Croisette. Netflix, who brought “The Meyerowitz Stories” and “Okja” to the festival, became the target of French distributors, angered at how the company skirts laws in the country regarding theatrical releases and streaming, by just dropping their original movies directing on their service, and not in cinemas. Continue reading Olivier Assayas Says Cannes Pulled ‘Carlos’ From Competition Because Of “Political Pressure” at The Playlist.
The Cannes Film Festival has come and gone, but Netflix still wants to talk about the big news that came out of the festival this year – the rules changes. According to the new rules that will go into effect in 2018, “Any film that wishes to compete in competition at Cannes will have to commit itself to being distributed in French movie theatres.” It’s clearly a “No Netflix” rule, and the executives at Netflix aren’t going to sit there and take it quietly. Continue reading Netflix Executive Warns Cannes Won’t Be “Relevant” With Competition Rule Change at The Playlist.
You don’t have to have had his face as your avatar since you joined Twitter, like a certain @jessicakiang we could mention, to believe that Cary Grant is possibly the greatest movie star that cinema has ever produced. But nor does choosing to have Roger O. Thornhill from “North By Northwest” grimace out from your every tweet mean that you’re unaware of the actor’s rumored checkered personal history or that you uncomplicatedly embrace his mythos. Continue reading Showtime’s ‘Becoming Cary Grant’ Is A Disappointingly Depthless Doc [Review] at The Playlist.
Russian filmmaker Kantemir Balagov employs an unusual device near the beginning of his debut film, “Closeness,” one of the Un Certain Regard selections of this year’s Cannes Film Festival. The director inserts himself into the proceedings via a handful of subtitles that clarify his identity (“My name is”) and that what is to follow is ripped from the reality of the North Caucasus region of Russia in 1998. Continue reading ‘Closeness’ Is An Arresting Debut From Director Kantemir Balagov [Cannes Review] at The Playlist.
The mothering instinct gets a sociopathically melodramatic makeover in Michel Franco‘s “April’s Daughter,” an initially engrossing but increasingly lunatic film that nonetheless convinced the Cannes Un Certain Regard jury enough for them to give it the Jury Prize this year. Franco is a clearly talented young filmmaker, and Cannes does love his brand of performance-driven psychological drama: his debut, “Daniel & Ana” snagged a Directors’ Fortnight slot; his sophomore film “After Lucia,” which centered around a devastating instance of teen bullying, won the top Un Certain Regard prize; and his third, “Chronic,” picked up the Screenplay award in the main competition. Continue reading Malice Is A Mother In Michel Franco’s Overripe Melodrama ‘April’s Daughter’ [Cannes Review] at The Playlist.