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Cannes Film Festival
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.
One of the biggest stories going into this year’s Cannes Film Festival was the controversy surrounding Netflix and the festival. With the inclusion of two Netflix original films, “Okja” and “The Meyerowitz Stories,” in the festival, film purists and theater distributors (specifically in France, where films released in cinemas must wait 36 months before streaming) were upset that Cannes would show films that would have no major theatrical release. Continue reading Netflix CEO Says Cannes Controversy Was “Fantastic For Us” at The Playlist.
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The 70th Cannes Film Festival has come and gone, but its films will live on as the march toward awards season begins. 2017 has already delivered one true Oscar player in Luca Guadagnino‘s Sundance breakthrough “Call Me By Your Name” and now Cannes has a chance to add to the coffers of potential contenders. (And, yes, there is the question of Jordan Peele’s “Get Out” potentially earning a Best Picture nod, but at this point, I’m not sure it’s more than an Original Screenplay contender, although I reserve the right to change that opinion when we get to September.) Last year’s surprise awards season player from la Croisette turned out to be “Hell or High Water.” What film or films will keep Cannes’ Oscar streak going this time around? Continue reading Are Robert Pattinson, Diane Kruger And ‘The Florida Project’ Cannes’ Stealth Oscar Contenders? at The Playlist.
The discussions around women filmmakers at the Cannes Film Festival too often gets caught up political and gender quotas instead of celebrating the tangible achievements of the films themselves. Case in point: Chloé Zhao’s “The Rider,” screened as part of the Directors’ Fortnight parallel section. Recipient of the Art Cinema Award — the top prize in its section — Zhao’s breakout success is in part due to the Fortnight’s nurturing of young voices, having selected her debut, “Songs My Brothers Taught Me,” for its 2015 program. Continue reading Chloé Zhao’s Deeply Moving, Entrancing Western ‘The Rider’ [Cannes Review] at The Playlist.