Cannes 2012 Official Selection Preview - Cosmopolis by David Cronenberg

Thanks to the absurd huge media coverage I have to constantly remember myself that Cosmopolis is a David Cronenberg film and NOT a Robert Pattinson movie especially when I consider Pattinson a mediocre actor that his only acceptable role is as a vampire. Recently watched Bel Ami and honestly he's terrible, the only good moments the film has is when Uma Thurman and Kristin Scott-Thomas are in the screen dwarfing even further Pattinson pathetic performance. I'm hoping that maybe in the hands of Cronenberg Pattinson can deliver as from what I imagine he will be in almost every Cosmopolis scene.

No doubt that movie will make money but most viewers will come from an audience that is not familiar with David Cronenberg glorious storytelling style which trailer and film stills suggest is all over the film.

The synopsis clearly states a theme that fascinates Cronenberg; how the organic and the psychological are inextricably intertwined, society's anxieties and phobias, and letting repressed impulses and paranoia run wild. Film addresses the alarming global financial crisis of today's world; it is a hauntingly prophetic fable that turns the future into history and suggests that the archaic might be our eerie future.

New York is in turmoil, the age of capitalism is drawing to a close end. Eric Packer, a high finance golden boy, dives into a white limousine. While a visit from the President of the United States paralyses Manhattan, Eric Packer has one obsession: getting a haircut at his barber’s at the other end of the city. As the day goes by, chaos sets in, and he watches helplessly as his empire collapses. Also he is sure that someone is going to assassinate him. When? Where? He is about to live the most decisive 24 hours of his life



As you can tell my expectations are very low especially when I learned that Juliette Binoche just did 2 days filming which I translate into very little time in the screen, probably only one scene that will be glorious but too short for sure.

Obviously will watch film as Cronenberg is one of my favorite directors but can't deny that I'll break my golden rule and as soon as film reviews from reliable sources start to appear will read them, just to find if Pattison improves here or not. Sigh.

Cronenberg in Cannes

Out of his 39 films in his eclectic career, Croneberg has been in Cannes three times before. First came in 1996 with Crash in competition for the Palme d'Or and went to win the Special Jury Prize; came back in 2002 with Spider in competition followed by A History of Violence also in competition and in 2007 with his short in Chacun son Cinema (To Each His Own Cinema) that was out of competition. Also in 1999 he was the Official Selection jury president.

Cronenberg has a significant history with Cannes but I doubt this film will get more than huge attention during the fest. Only IF Pattinson delivers then film could have some opportunities to be honored.

Film specs
Directed by David Cronenberg
Written by David Cronenberg
Starring: Robert Pattinson, Juliette Binoche, Mathieu Amalric, Samanta Morton, Paul Giamatti
Language: English
Nationality: Majority Canadian (France and Canada)
Runtime: 1h 48m
Production year: 2012

End Notes
Cronenberg at Cannes go here.
Cosmopolis at Cannes official site go here.
Unifrance go here.

Cannes 2012 Official Selection Preview - South Korean Movies

There are two movies from South Korea and both are absolutely Must Be Seen for me for different reasons. These are my motives and reasons.

다른 나라에서 Da-reun Na-ra-e-suh (In Another Country) by Hong Sangsoo

Not really familiar with director that came to be known by me with his 2010 Un Certain Regard top award winner 하하하 HaHaHa but film stars one of my favorite actresses, Isabelle Huppert that makes me watch all her movies, a task that is quite difficult as she's a very busy actress.

What do I expect from this movie? Isabelle Huppert always does very intense characters in mostly very strange movies that travel the intensity level from light to really heavy. Of course there are some exceptions but this movie seems to be no exception and got my clue from synopsis.

A young film student and her mother run away seaside town of Mohang to escape their mounting debt. The young woman begins writing a script for a short film in order to calm her nerves:
Three women named Anne appear, and each woman consecutively visits the seaside town of Mohang. The first Anne is a successful film director. The second Anne is a married woman secretly in an affair with a Korean man. The third Anne is a divorcée whose husband left her for a Korean woman.
A young woman tends to the small hotel by the Mohang foreshore owned by her parents. A certain lifeguard can always be seen wandering up and down the beach that lies nearby. Each Anne stays at this small hotel, receives some assistance from the owner’s daughter, and ventures onto the beach where they meet the lifeguard.

With this plot summary you have to expect a complex -hopefully very intense- narrative that trailer and any of the available movie clips do not show as we know that narrative complexity is something that is not easy to show with a few scenes.



Hong Sangsoo in Cannes

His Cannes history starts in 1998 when Kangwon-do ui him (The Power of Kangwon Province) is shown at Un Certain Regard section, a section that sees him coming back with 3 more films and where in 2010 wins the top award with HaHaHa. He has competed twice for the Palme d'Or, first in 2004 with Yeojaneun namjaui miraeda (Woman is the Future of Man) then in 2005 with Geuk jang jeon (Tale of Cinema).

No doubt that acclaimed Korean cinema auteur has a significant history with Cannes, add that film is the vehicle for Huppert performance and you know that film could get honors at fest. With the eclectic jury I foresee that this film could call their attention and know that Huppert could be considered for the Best Actress award. As I refuse to learn more about this movie and have very little idea about Huppert character, consequently my first impression is that she has small opportunities to win as seems that Cotillard and Kidman characters are a lot more dramatic.

My love affair with Korean cinema is very limited as I have identified several key directors that I try to follow and watch everything from them; but discovering new ones has become a difficult task as I have had non-positive experiences with many films I have seen. Maybe is time to try again and definitively this director has to be on top of the list.

I know there are many of us that watch everything with Isabelle Huppert, so if you are one of them then this film is must be seen for you too.

Film Specs
Directed by Hong Sangsoo
Written by Hong Sangsoo
Starring: Isabelle Huppert, Junsag Yu, Yumi Jung
Language: English and Korean
Nationality: South Korea (and France: co-production with Les Films du Camélia)
Runtime: 1h 28m
Production Year: 2012
Aka: Dareun Narayeseo

End Notes
Hong Sangsoo at Cannes go here.
Movie at Cannes site go here.
Director asianwiki go here.

돈의 맛 Do-nui Mat (The Taste of Money), Im Sang-soo

Highly excited that outstanding 하녀Hanyeo (The Housemaid) has a sequel (or so it seems) as I don't mind to continue learning about Korean wealth and Chaebul/Korean conglomerates stories; but is the expectation of how story will be told what makes me feel like "dying" to watch this film. Check the synopsis.

Young-jak who is a private secretary of madam Baek, the center power of Korean conglomerate, deals with immoral private issues of her wealthy family.
He reports to madam Baek that her husband, Mr. Yoon is having an affair with a Filipino nanny, Eva. Madam Baek is now despaired, then greedily seducing Young-jak for her sexual desire.
On the other hand, he begins to feel conflicted by madam Baek’s daughter, the only family member who approaches him with the true heart.
Lost between his morality and shortcut to successful life, he has to make the biggest decision he’s ever made to choose whom he will hang on to, in order to survive in this harsh world.

I know synopsis seems like a soap opera but knowing Im Sang-soo storytelling technique used in The Housemaid I expect that while narrative still will be a melodrama, visual storytelling absolutely will transport you into the world of cinema art. Just watch trailer and look at awesome film stills.



What do I expect from film? Absolutely stunning, breathtaking images thanks to outstanding locations, set designs, excellent camera, great editing, and other tech specs that are used to impressively recreate wealth in modern times. At least that's what Im Sang-soo did in The Housemaid and was truly close to perfection. Add great actors' performances plus amazing director storytelling technique and you get everything that's in my mind.

Im Sang-soo in Cannes

Not a long history as Im Sang-soo debuted in Cannes with The Housemaid but I'm sure that film being in Cannes allowed director international awareness. I wonder if this time film will get recognition but if film is as similar to The Housemaid as I imagine then film should get recognition for its cinematography and set design; unfortunately Cannes does not give any awards in those categories. Sigh.

Film Specs
Directed by Im Sang-soo
Written by Lim Sang-soo
Starring: Yoon Yeo-Jung, Kim Kang-Woo, Kim Hyo-Jin, Baek Yeo-Jung, On Joo-Wan
Language: Korean
Nationality: South Korea
Runtime: 114 minutes
Production Year: 2012

End Notes
Im Sang-soo at Cannes go here.
Movie at Cannes site go here.
Director at asianwiki go here.
Movie site go here.

Cannes 2012 Official Selection Preview - On The Road by Walter Salles

Since I learned about this film, long before Cannes, I became apprehensive as is not easy for me to imagine a very American story in the hands of a Brazilian director that hasn't done movies in non-Portuguese language that move me. Add that project has been regarded for decades as one of the most elusive unmade movies since 1957 when Warner Brothers offered to buy the rights to Francis Ford Coppola in 1979 buying the film rights to Jack Kerouac's classic novel with the same name and you get apprehensive and nervous.

Seems that screenplay took about 4 years to complete and there was a "war" between the Salles team and the father/son Coppolas and to be honest I find quite interesting the story of how this film has been unmade for 55 years, at least more than the story I can imagine will be told from Kerouac's novel that I found to be extremely complex yet fascinating.

So my expectations are quite low in almost every sense except when it comes to the very interesting cast. Starring Sam Riley an actor that simply blew my mind in amazing Anton Corbijn's Control plus THAT actress that I follow long before she became a celebrity, Kristen Stewart, and hopes improve. Plus film has to be peppered with good performances by well-known actors like Kirsten Dunst, Amy Adams, Viggo Mortensen, Elizabeth Moss, Terrence Howard, and Steve Buscemi. Still, we have to see what Salles managed to do with them.

One thing I'm sure about this film, that will not have anything to do with mainstream commercial movies as everything about this film suggest arty film, including being in competition at Cannes. So, there has to be a reason why film was selected to the most famous festival and this makes me VERY curious plus gives me hope of having a good cinematic experience when finally I watch it. After all hope is the last to die.

Last have to consider that Salles seems to be specialized in "road movies" as almost all of his honored films tell this kind of stories; consequently this is his best credential to hope that On The Road -obviously a road movie- will be a great film. See following synopsis.

New York, the late 1940's. After his father's death, Sal Paradise, an aspiring 24- year old writer, meets Dean Moriarty, a 20-year old ex-jailbird with flexible morals and a devastating charm. Dean is fascinated by Sal's obsession with writing; Sal is fascinated by Dean's unfettered freedom. They spend their intense, alcohol-fueled nights dreaming of another world, forming a Friendship that will take them on the road across the USA. After a stay at Bull Lee's place in Louisiana, Sal, Dean and his beautiful young wife Marylou form a merry threesome, traveling naked and freely enjoying themselves, a suspended moment in time.

So after going from negative to positive what exactly do I expect from this movie? Great visuals from Eric Gautier that also worked with Salles in the Motorcycle Diaries and trailer plus film stills promise them; also expect -or hope- for a non-traditional narrative style (done in the editing room), hopefully interesting enough to find some similarities to the written style of the book -but I know this will be hard, still will be a great surprise. Last, good performances by actors that I know can do great character interpretations.



Salles in Cannes

With about 22 films Salles comes to Cannes relatively late, but we have to consider that most of his earlier work are documentaries or shorts; still is surprising to find that acclaimed Central Station didn't go to Cannes, but probably was because won the Golden Bear at 1998 Berlinale. His Cannes history starts in 1999 when he was a jury member for Short Films competition and came back in 2002 to again be a jury member at the main competition.

Is not until 2004 when he comes with a film, Diarios de Motocicleta (The Motorcycle Diaries) that was in competition and went to win the Prize of the Ecumenical Jury plus the Francois Chalais Award; comes back with a short in Paris Je T'Aime at Un Certain Regard and in 2007 with another short in Chacun son Cinema (To Each His Own Cinema) that was Out of Competition. Returns in 2008 with his acclaimed film Linha de Passe competing for the Palme d'Or.

No doubt that Salles has been around the festival circuit with great success, but his Cannes history seems too short to be significant; which means that he has only opportunities to impress and maybe, only maybe, he will impress with this movie and collect top honors. This is a film that I have to watch to give any recommendation, nevertheless is a Must Be Seen movie for me because one I actress that makes me watch everything she does.

Film Specs
Directed by Walter Salles
Written by José Rivera
Starring: Sam Riley, Garrett Hedlund, Kristen Stewart, Kirsten Dunst, Amy Adams, Viggo Mortensen, Elizabeth Moss
Language: English
Nationality: Majority French (France, UK, USA, Brazil)
Runtime: 2h 17m
Production Year:  2011
NorthAmerican Rights: AMC Networks, jointly distributed by IFC Films and Sundance Selects

End Notes
On the Road at Cannes site go here.
Salles in Cannes go here.
Good Article go here.
Mk2 go here. Check great posters.
Movie Official site here.
Unifrance go here.

Last a fascinating map that shows the traveling by the man (Kerouac), the book and the movie.



Why the long post? When I was a very young kid I "found" the beat movement and I adopted as much as I could due to younger age; stayed with me until The Beatles came to America, then EVERYTHING changed. The movie theme is very emotional for me. Sigh.

Cannes 2012 Official Selection Preview - De Rouille et d’Os (Rust & Bone) by Jacques Audiard

Very excited about this movie not only because is Jacques Audiard next film after outstanding Un Prophète (A Prophet) but also because Marion Cotillard is the main character in a woman-centered story that surely will not be easy to watch but I know is the vehicle for a superb performance by Cotillard.

In the last 18 years Audiard has made only 5 films and I have seen only one, a number that I hope to improve ASAP; so it's not easy to have clear expectations especially because four of his previous films are male-centered and this one is female-centered. Nevertheless I expect raw violence and what I call a "very French" movie with outstanding visuals, great storytelling style and superb actors' performances; but most of all, I know I have to get an intense emotional voyage that will take me and shake me up and down.

Film synopsis is distressing.

Ali suddenly finds himself in charge of Sam, his 5 years old son that he barely knows. Penniless and without friends, he leaves the north of France to seek shelter at his sister’s in Antibes. Even though she and her husband do not have much money, they make a room for them in their garage and take care of Sam. Ali finds work as a bouncer at a local nightclub. After diffusing a fight one evening, he meets Stephanie a beautiful, self-confident woman. He takes her home and leaves her his number. But she is a princess and he is a poor fellow.

Stephanie is a killer whale trainer at the local Marineland. After a terrible accident one day, Ali gets an unexpected phone call from Stephanie. When he sees her again she is crammed into a wheelchair. She has lost both her legs and her dreams. Ali will share genuine moments with her, without pity, and help her to live again

Outstanding visuals (trailer) plus the intense emotional voyage is more than suggested when Audiard and Thomas Bidegain talk about the movie, here is an excerpt.

Dès le début de notre travail d’adaptation, nous nous sommes tournés vers une forme cinématographique que faute de mieux nous appelions « expressionniste », où la force des images viendrait servir le mélodrame. Une esthétique tranchée, brutale et contrastée. Celle de la Grande Dépression, celle des films de foire, où l’extraordinaire étrangeté des propositions visuelles sublime la noirceur du réel. Celle d’un monde où « Dieu vomit les tièdes ».

There are high probabilities that my expectation will be met and even surpassed. A few film stills from the many available to show beauty and violence.




Audiard in Cannes

With only five films, this is his sixth, there is no surprise to find that his first film Regarde les hommes tomber (See How They Fall) was screened at 1994 Cannes at a parallel section; two years later in 1996 comes back with Un héros très discret (A Self-Made Hero) this time in competition for the Palme d'Or and winner of the fest Best Screenplay. Is in 2009 when he returns with outstanding Un Prophète (A Prophet) also in competition and winner of the Grand Prix.

Buzz claims that Audiard is THE frontrunner for this year top winner as he has to get the Palme that was "robbed" from him in 2009. I don't agree with the "robbed" part (Haneke won) but with his credentials and from the little I'm willing to see and read about this movie I don't doubt that this is the film to beat. Still is the jury and no one else who will decide, but from what I know from jurors I tend to think that this could be a film most will be pleased with.

Also don't doubt that Marion Cotillard has to be a strong contender for the fest Best Actress award and won't be surprised if she gets it.

I read and watched more videos than I usually do to write this, which some of you recall that I don't like to do as I love to be surprised by great films, especially by French films, so I hope that after all that I learned I can still be intensively surprised. Obviously is a Must Be Seen movie for me and one that I strongly recommend to those that enjoy French cinema, a recommendation that comes even before watching film. If you haven't seen A Prophet, I suggest you watch it ASAP as will blow your mind and body.

Film Specs
Directed by Jacques Audiard
Written by Jacques Audiard and Thomas Bidegain
Starring: Marion Cotillard, Matthias Schoenaerts, Bouli Lanners, Céline Sallette
Language: French
Nationality: Majority French (France and Belgium)
Runtime: 1h 55m
Production Year: 2011

End Notes
De Rouille et d’Os at Cannes site go here. There are 4 videos that I refuse to watch, enough with trailer.
Audiard in Cannes go here.
Why Not productions go here.
Ucg distribution go here.
Unifrance go here.

Cannes 2012 Official Selection Preview - American Films

There are five (5) only USA production movies in the Palme d'Or competition and to make my life easier decide to do one post for all of them.

Opening Film: Moonrise Kingdom by Wes Anderson.

Can't deny that I have seen all Anderson movies but unfortunately his storytelling style is not one that I enjoy; from all his feature films perhaps The Royal Tenenbaums is the one that I dislike less. Can't help but share that his style is fantastic for ads and he has some really outstanding ads. I expect this film to have his peculiar filmmaking and storytelling style that showcases methodical cinematography, dry humor, flawed characters and "wandering around" narrative.

Film has some of his regular actors but this time includes Tilda Swinton that I really hope will walk the red carpet on opening night and is about the only thing that excites me from this film. Is his first time in Cannes and I believe he has to pay his dues before being honored at this fest, still juries are the ones that decide honors so anything could happen. Film already has the honor of being Cannes opening film which assures the presence well-know Hollywood actors at fest opening red carpet.

Film Specs: IMDb
End Notes: Cannes official site.
Trailer go here.



Killing Them Softly by Andrew Dominik

Know him only from his previous movie The Assassination of Jesse James by the Coward Robert Ford a film that I did not enjoyed at all and since was being a not-positive experience I didn't finish watching, sigh. From photos, video at Cannes site and film synopsis I imagine something very similar to his previous film, but somehow this time want to be positive as film style kind of resembles Ken Loach raw realistic approach.

Film has some well-known Hollywood actors and one celebrity: Brad Pitt that surely will walk the red carpet again. Is his first time at Cannes and believe that being in competition could be the main honor this film will collect in the fest.

Film Specs: IMDb
End Notes: Cannes official site.
Clip go here.

Lawless by John Hillcoat

I'm excited with this film as from trailer looks and feels like good entertainment escape moment kind of movie plus has a very interesting cast with one actor that I'm waiting for him to stop doing teenage targeted movies and seems he finally did, Shia LaBeouf. But also acclaimed Jessica Chastain and Mia Wasikowska are here, plus Tom Hardy, Gary Oldman and Guy Pearce.

Not familiar with director as haven't seen any of his films, maybe I should check The Road to have an idea about his filmmaking style.

Is Hillcoat first time in Cannes and IF jury wishes to give any honor to an American film, this could be one of the possibilities just because visual images are kind of interesting.

Film Specs: IMDb
End Notes: Cannes official site.
Trailer go here.


Mud by Jeff Nichols

This movie could be a different kind of American film just because director previous movie is outstanding Take Shelter that not only had absolutely great visuals but story was superb, just read my review here to see what film did to me.

With this background I have high hopes for this movie where I expect the dichotomy of having a simple story told in a complex and layered way that magnificently could confuse viewers plus essential gorgeous visuals. Clips at Canes site assure me that will get the visuals and just hope story will be amazingly told.

Casting has top Hollywood actors and well-known actors like Michael Shannon who was also in Take Shelter; so we could see Matthew McConaughey and Reese Witherspoon walking the red carpet which will assure wide media coverage to a film that deserves it.

Is Jeff Nichols second time in Cannes. First time was last year when Take Shelter was screened at la Semaine de la Critique and went to win the parallel section top award plus the SACD Award. This year his film is in competition which tells me that this young of age and young at Cannes director will have a long relationship with the fest. Oh yes, I believe that from all American films this is the one that could (and should) win top honors. Obviously is a Must Be Seen movie for me.

Film Specs: Cannes official site.
End Notes: Two clips here.

The Paperboy by Lee Daniels

Acclaimed Lee Daniels got his way into the Cannes main competition after being honored all over the world for his 2009 sophomore film, Precious that is another film that I simply could not watch completely as was making me sick in so many ways that had to stop and leave.

I believe this film has to be different to his previous as not only has a star-studded cast but from images and clips looks/feels with less disturbing style. Film could be the second time Matthew McConaughey will walk the red carpet this time in the company of none other than Nicole Kidman, John Cusack and well, Zac Efron. Don't have expectations about this film but I know will watch more because the cast than because the director.

Is Daniels second time in Cannes, the first was with Precious screened at 2009 Un Certain Regard section and have to admit that this is the second American film most likely to get honors at Cannes not only because director's credentials but also because Nicole Kidman performance that has generated buzz thanks to Thierry Fremaux's comments for selecting this film, which could mean Kidman winning Best Actress.

Film Specs: IMDb.
End Notes: Cannes official site.
Clip here.

American films are not my cup of tea when I want to watch great cinema BUT fortunately I have seen many that positively surprise and impress me beyond my wildest imagination thus I'm hoping for my own selfish pleasure that one of the above films will do it again for me. I'm sure Nichols' Mud will impact me but I should be careful with my expectations and don't up them too high.

Cannes 2012 Official Selection Preview - ライク・サムワン・イン・ラブ Like Someone in Love by Abbas Kiarostami

With a unique style Kiarostami absolutely challenges viewers by playing with our expectations and provoking our imagination. His style is magnificently unpretentious poetic and with a not-always clear philosophical vision that only stimulates more the imagination. That's what I expect from Like Someone in Love, the same expectations I had for Copie Conforme (Certified Copy) that were fulfilled above my highest expectations as you can see in my review here.

If you watch gorgeous trailer here and think about the following synopsis I'm sure that your imagination will start to fly in whatever direction you feel like. But be assured that when watching film anything could be possible and most likely will not resemble what you imagined.

An old man and a young woman meet in Tokyo. She knows nothing about him, he thinks he knows her. He welcomes her into his home, she offers him her body. But the web that is woven between them in the space of twenty four hours bears no relation to the circumstances of their encounter.

I know that visuals in his films are outstanding but have to admit that Kiarostami captures me with his narrative, his stories and his storytelling technique grab me so much that visuals go to a second place which is unusual as I'm a very visual cinema lover. But I do expect great visuals from this movie and the following images plus trailer tell me that I will get them.



Kiarostami in Cannes

Kiarostami and Cannes have a long history that started in 1992 with Zendegi Edame Darad (Life, and Nothing More...) at the Un Certain Regard section, came back in 1994 with Zire Darakhtan Zeyton (Though the Olive Trees) in competition for the Palme and his story is so long that just let me share that has been in competition 4 times, this film is his fifth. He won (ex aequo with Shôhei Imamura's Unagi) the Palme d'Or in 1997 with fabulous Ta'm e Guilass (Taste of Cherry).

Can't say that have seen all his films, it's very hard to find his earlier Iranian movies, but from the ones I have seen and his history at Cannes, plus Certified Copy not winning the Palme d'Or in 2010 (but Juliette Binoche winning Best Actress) and this film looking/feeling very similar I believe that he will not get a major award. Still inside my deepest self I hope this time he gets a more than deserved recognition.

Film Specs
Directed by Abbas Kiarostami
Written by Abbas Kiarostami
Former known as: The End
Starring: Rin Takanashi, Tadashi Okuno, Ryō Kase
Nationality: Majority Japan (France, Japan)
Filming locations: Tokyo, Japan
Runtime: 109 minutes
Production year: 2011

End Notes
Movie at Cannes site go here.
Kiarostami in Cannes go here.
Mk2 go here.

Cannes 2012 Official Selection Preview - După dealuri (Beyond the Hills) by Cristian Mungiu

I fell in love with Romanian cinema thanks to Cristian Mungiu that with his truly outstanding film 4 luni, 3 saptamâni si 2 zile (4 Months, 3 Weeks and 2 Days) gave me reason to explore the Romanian cinema new wave and I plunged so deep that even went to learn the language.

For me Mungiu's style in 4 months, 3 Weeks and 2 Days is highly emotional, a film that explodes your emotions in a roller-coaster way, a very intense emotional experience while straight-forward telling a simple yet very disturbing story. That's exactly what I imagine will get from his third feature-length movie especially because is another women story inspired by true events.

With my wild imagination I'm hoping that film could have "some" lesbian interest as synopsis below plus some of the images gave me the hope; still, the lesbian interest is absolutely non-essential for me to be highly excited about this film.

Alina returns to Romania from Germany, hoping to bring Voichita - the only person in the world she loves and was loved by - back to her. But Voichita has found God - and God is the hardest lover of all to be jealous of.

I relate Mungiu's work mainly with intense emotions but Beyond the Hills stills give the impression that this time Mungiu will also deliver breathtaking visuals as the ones that follow.



In the end my expectations rotate around intense emotions with fabulous visuals in a simple story told in Mungiu's very particular style which I imagine had to evolve in his third oeuvre. Obviously this is a must be seen for me.

Cristian Mungiu in Cannes

Mungiu's relationship with Cannes starts in 2002 when his debut film Occident is screened in the Quinzaine des Réalisateurs; then five years later, in 2007, he returns with outstanding 4 luni, 3 saptamâni si 2 zile (4 Months, 3 Weeks and 2 Days) in competition which went to win the Palme d'Or. Two years later, in 2009, Amintiri din epoca de aur (Tales from the Golden Age), a shorts collection written by Mungiu and directed by him plus other directors, is screened at Un Certain Regard section.

I don't doubt that Mungiu could get a second Palme but I'm dubious if is going to be this year. Nevertheless he has a strong relationship with the festival that has screened ALL his feature-length films plus some of his shorts and most of all already is a Cannes Palme d'Or winner, so he has to be a strong contender that could get significant recognition.

Film Specs
Directed by Cristian Mungiu
Written by Cristian Mungiu (Inspired by the non-fiction novels of Tatianei Niculescu Bran)
Starring: Cosmina Stratan, Cristina Flutur, Valeriu Andriuţă, Dana Tapalagă
Language: Romanian
Nationality: Majority Romanian (Romania, France, Belgium)
Runtime: 2h 35m
Production year: 2011-2012
North America rights: Sundance Selects

End Notes
După dealuri at Cannes site go here. There are three clips!!!
Mungiu in Cannes go here.
Mobra films go here.
Le Pacte go here.
Why Not Productions go here.
Wild Bunch International go here.
Film New Europe go here.
Unifrance go here.

Cannes 2012 Official Selection Preview - Post Tenebras Lux by Carlos Reygadas

The much awaited (by me) semi-autobiographical fiction film by outstanding master filmmaker Carlos Reygadas that with only three feature-length films has established himself as one of the most prominent master filmmakers in contemporary world cinema and one of the most adored directors by me, mainly because his breathtaking realistic visuals, outstanding framing/compositions and stories that blow and could shock your mind is finally here. For me he does films that are the complete "package", the complete filmmaking/storytelling experience where everything you see and everything you hear are seen and hear at the right moment, in the right sequence and with the right storytelling technique. So close to perfection. This is what I expect from his latest oeuvre.

There is no doubt in my mind that Post Tenebras Lux, Latin for Light After Darkness, will have breathtaking images and you'll agree while watching these stunning images.



Clearly we can see that Reygadas realistic approach to visuals style is in these pictures as it is in his own description about what film is all about. At the 2010 Berlinale Reygadas told Variety what follows.

"Lux" will be about "feelings, memories, dreams, things I've hoped for, fears, facts of my current life," ... "reason will intervene as little as possible, like an expressionist painting where you try to express what you're feeling through the painting rather than depict what something looks like,".

Those comments absolutely blow my mind as tell about something I have always appreciated in great films, visuals that I can compare to paintings, that allow me to have an experience similar to when I see a great paint but also a great photography, a sculpture, a miraculous piece of architecture, and in a few words, a work of art.

The synopsis is puzzling especially when you add his own comments as we can see that hardly fits them; but no worries, most of Reygadas film synopsis have truly very little to do with the cinematic experience you live while watching them.

Juan and his young urban family live in the countryside of Mexico. There, they enjoy and suffer a world that understands life in a different way. Juan wonders if those worlds are complementary or, truly, they fight unconsciously to eliminate one another.

So I suggest to place our attention into the gorgeous visuals as if narrative will have very little reason, then this will be another very visual film.

Carlos Reygadas in Cannes

Reygadas opens his Cannes relationship in 2002 when his debut film Japon is screened at a parallel section and goes to win a Caméra d'Or Special Mention; in 2005 comes back with his second film, Batalla en el Cielo (Battle in Heaven) competing for the Palme d'Or. His third film Silent Light competes for the 2007 Palme d'Or and goes to win the Jury Prize ex aequo with Persepolis.

I believe that Reygadas has a long and fruitful cinema career ahead and know that eventually will win the Palme d'Or; but even do probably could deserve it with this film, this year eclectic jury could find film odd and "too different". Still I have my hopes as Reygadas has a solid history with the festival and maybe, only maybe, could get some significant recognition. Buzz around serious movie sites is high and positive especially after the release of the photographs, some predict it as the top winner. If Reygadas' Post Tenebras Lux wins the top award there will be a BIG party here.

A must be seen movie for me and one that I highly recommend even if I haven't seen it. If you're not familiar with the work of this director my best suggestion is to start watching him chronologically, first Japon, followed by Battle in Heaven and last, Silent Light; after the feature-length movies watch his shorts.

Film Specs
Directed by Carlos Reygadas
Written by Carlos Reygadas
Starring: Non-professional actors. Adolfo Jimenez, Natalia Acevedo, Willebaldo Torres, Eleazar Reygadas and Rut Reygadas
Language: Spanish
Nationality: Majority Mexican (France, Mexico, Netherlands)
Runtime: 2h
Production year: 2011

There is no trailer yet but a clip is promised as "coming soon" at Matarraya twitter account.

End Notes
Post Tenebras Lux at Cannes site go here.
Reygadas in Cannes go here.
Topkapi Films go here.
Le Pacte go here.
Unifrance go here.

Cannes 2012 Official Selection Preview - Amour by Michael Haneke

Introduction

As the most famous film festival in the world will start next week, a week later than always due to France presidential elections, a new to this blog idea came to my mind: to share my thoughts about each of the films in the Official Competition. Not an easy task as not all movies have trailers but have to admit that most have photos -some truly breathtaking- and many are from well-known to me directors that somehow assure me the quality of their work besides the obvious high quality that have to have to be in Cannes Official Selection.

Is very unusual to find in the Cannes Official Selection so many American movies, 5 in the Main Competition, 3 in Un Certain Regard, 1 in Special Screenings, and 1 in Midnight Screenings, for a total of 10 films in the Official Selection. Probably must a be a first but will check later to confirm. My honest first reaction was not-positive as in a way these films fill a place that could be filled with great non-American films that really need this festival to boost their exposure. But I know that this as any other festival is all about business and when you assure HUGE Hollywood celebrities walking the red carpet, the fest gets wider media exposure. Sigh.

Nevertheless the Official Selection has several of my favorite directors like Mexican Carlos Reygadas, Romanian Cristian Mungiu, Austrian Michael Haneke, and Iranian Abbas Kiarostami; can't deny that already knew about each of their films and was hoping for them to make the selection, so was kind of relief to find that they did. Great.

So without further introductory comments let's get into my first preview.

Amour (Love) by Michael Haneke

Absolutely "dying" to watch this film that reunites Haneke with Isabelle Huppert after 2001 La Pianiste (The Piano Teacher) and 2003 Le Temps du Loup (Time of the Wolf). Not only Haneke is one of my favorite directors but Huppert is one of my favorite actresses, one that makes me watch all her films. So that is the main reason for my true excitement about this film.

Talking about Haneke is talking about a cinema of disturbance that has marked his work since his earlier movies like really disturbing Funny Games or shocking-disturbing La Pianiste, to puzzlingly disturbing Caché (Hidden) and breathtaking yet disturbing The White Ribbon, so I'm assuming that Amour has to have his disturbing style but from the very little info available I'm expecting that disturbance will have a qualificative adjective that has to be his surprise twist in this film, that maybe, only maybe, could be (a bit more) emotional with an unexpected warmth from master filmmaker Haneke.

The available synopsis can't be more intriguing:

Georges and Anne are in their eighties. They are cultivated, retired music teachers.
Their daughter, who is also a musician, lives abroad with her family.
One day, Anne has an attack.
The couple's bond of love is severely tested.

What intrigues me the most is that Huppert plays Eva, a character that's not clearly stated in the synopsis, except for being the daughter; still, it is implied in the most Haneke style that leaves everything to your imagination, that will fly freely especially when you also know the characters that Huppert loves to play.

Also in this movie one of the greatest French actors and one that I have seen almost all his movies, Jean-Louis Trintignant. An older Trintignant with looks that still recall how handsome he was and mostly, how good an actor he was in almost all of his 137 films where is hard for me to say which performance I like best (maybe Costa-Gavras Z?), but can't hide that one of my emotional favorites is in Claude Lelouch's Un homme et une femme (A Man and A Woman). Trintignant in the hands and head of Haneke has to be spectacular.

5/14 update: FINALLY trailer is available here.

What else I'm expecting? Extraordinary images even when Amour cinematographer work does not facilitate me imagining greatness.

Haneke in Cannes

Haneke and Cannes have a tale of successful relationship; he has been nine times before with five films nominated to the Palme d'Or which with the exception of two, all collected mayor awards. The relationship started in 1989 where Haneke was in a parallel section with Der 7 Kontinent (The Seven Continent), in 1992 also in a parallel section was Benny's Video, and in 1994 again in a parallel section, 71 Fragmente einer Chronologie des Zufalls (71 Fragments of a Chronology of Chance).

In 1997 Haneke comes back to Cannes with Funny Games that's part of the selection but does not collect awards; three years later, in 2000, Haneke came back with Code inconnu: Récit incomplet de divers voyages (Code Unknown: Incomplete Tales of Several Journeys) starring none other than Juliette Binoche, that won the Prize of the Ecumenical Jury.

The following year, 2001, the Grand Prize of the Jury went to La Pianiste (The Piano Teacher) and four years after in 2005 Haneke won the Best Director for his amazing film Caché (Hidden) also starring Juliette Binoche; the film went to also win the Prize of the Ecumenical Jury and the FIPRESCI Prize.

In 2009 Haneke comes to Cannes with what I have to call master oeuvre, Das weiße Band - Eine deutsche Kindergeschichte (The White Ribbon) that gave him his first Palme d'Or plus the Cinema Prize of the French National Education System and the FIPRESCI Prize.

Is he going to win his second Palme d'Or with Amour and belong to the small group (only six) of directors that have won the Palme twice? Haneke surely has all the necessary pedigree to be a strong contender and a frontrunner for the top award just because of his history with the festival and his outstanding films. Amour on the positive side has to have Haneke style plus an amazing dramatic cast; on the not so positive side, a cinematographer Darius Khondji that already worked with him in his American Funny Games American remake which may not be the best reference for success. These are the elements that fill my head and tell me that maybe he will get recognition.

Haneke is Haneke

At least for me. So no matter if he does fine or not at Cannes his film is absolutely must be seen for me and yes, I do have high expectations which I know is not the best to do, but with the casting and his master filmmaker style film has to be more than worth watching.

Last here is an insightful quote from his book Film als Katharsis (Film as Catharsis)

"My films are intended as polemical statements against the American ‘barrel down’ cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus."

Absolutely great vision, one that many filmmakers should have or at least, contemplate once in a while, then cinema will be true art where we film-viewers have the power to get from film what we like the most and the second time we watch with a different state of mind, we will be able to see something else. A vision that I'm still hoping will be the essence of Amour.

The only Amour photo available up to today.



New photo



Film Specs
Directed by Michael Haneke
Written by Michael Haneke
Starring: Isabelle Huppert, Jean-Louis Tritignant, Emmanuelle Riva, William Shimell
Language: French
Also known as: Liebe
Release date: October 24, 2012 in France
Nationality: Majority French (France, Germany, Austria)
Runtime: 2h 7m
Production year: 2011
North American rights: Sony Pictures Classics

End Notes
Amour at Cannes site go here.
Haneke in Cannes go here.
Films du Losange go here.
X Filme Creative Pool go here.
Unifrance go here.