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CANNES
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Actresses Drive
Oscar Buzz
on the Croisette
By Gregg Kilday
A
s Cannes sets the stage
for the 2015 Oscar
race, one thing is guaranteed: Unlike last year, when
awards-worthy performances
by best actress contenders
were scarce, this year, it’s les
femmes who are dominating
Cannes’ screens.
At the top of the list is Todd
Haynes’ luxe romance Carol,
starring Cate Blanchett and
Rooney Mara. As the fest heads
into its final stretch, it’s holding
its own as the best-reviewed
competition entry. And it
immediately got Oscar watchers
swooning. “Strong contender
for awards @cannes15 &
beyond,” tweeted IndieWire’s
Anne Thompson. Predicted
Hollywood-elsewhere.com’s
Jeff Wells, “Two years ago after
winning her second Oscar for
Blue Jasmine, Cate Blanchett
could well claim her third for
playing another woman in crisis
in Carol.”
When awards season does
roll around, the only question will be: Do Blanchett
and Rooney both contend for
best actress, or will Rooney be
positioned as supporting. That
decision, says Harvey Weinstein,
whose Weinstein Company
is distributing the film, has yet
to be decided.
C O N T I N U ED O N PA G E 2
BLUNT: AP PHOTO/LIONEL CIRONNEAU.
Mara
BLUNT’S
FORCES
From left: Director Denis Villeneuve,
Benicio Del Toro, Emily Blunt (in Stella
McCartney) and Josh Brolin arrive for the
gala premiere of Sicario.
Festival Footwear Controversy
Sparks Red-Carpet Revolt
There were plenty of ladies in flats at the Sicario premiere after the fest came under fire for
barring shoes without heels. Organizers deny it, but Cannes vets say it’s de rigueur By Alex Ritman
T
he Cannes Film Festival appeared to have
learned its lesson on Tuesday evening following a day of contention over the matter of
red-carpet footwear. Security guards at the Sicario
gala screening were reportedly letting women in flat
shoes through, despite numerous reports of them
turning people away — in one case rather physically
— for the same “offense” earlier in the week.
Despite 2015’s edition being hailed as
the “year of la femme” for its relatively
high number of women directors, producers and jury members, the choice
of what its female guests wear on their
feet to Palais premieres seems to have
become a major stumbling block.
The Carol premiere on May 17 saw
several women barred from entry for
wearing flats, and THR has learned of other
incidents, such as women being turned away
for ankle boots or sandals.
THE HOLLYWOOD REPORTER
D8_cannes_news1+2_E.indd 1
Cannes’ long association with old-fashioned glitz
and glamour is world-renowned, but there’s never
been clear guidelines on a dress code for women.
Organizers themselves appeared to flip-flop on the
issue, first reportedly saying that high heels were
obligatory for gala screenings then stating that
beyond formal dress, “there was no specific mention
about wearing heels.” Fest director Thierry
Fremaux even tweeted that the rumor was
“unfounded,” and the help desk in the
Palais appeared to think that as long as
female guests were “dressed very well”
then flat shoes would be OK.
At the press conference for Sicario,
Emily Blunt said it was “very disappointing” to hear. “Everyone should wear flats,
to be honest.”
When asked about the controversy by THR,
Sicario director Denis Villeneuve said: “Rituals are
C O N T I N U E D O N PA G E 2
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5/19/15 10:04 PM
theREPORT
HEAT INDEX
PETE DOCTER
The director’s latest Pixar film,
Inside Out, which premiered in Cannes
out of competition, was warmly received
on the Croisette. “Big summer grosses
appear in store,” predicted THR’s review.
VA L E R I E D O N Z E L L I
Critics didn’t give the French director’s
competition entry Marguerite and
Julien, a fairy tale about incestuous
siblings, a warm embrace. The Guardian
called it a “giant turkey.”
KNOW YOUR DEALMAKER
Footwear
C O N T I N U ED F R O M PA G E 1
nice, and it brings something to
the event that people are putting
their best attire on. But we all
know that women are suffering.”
Other sources tell THR that
the heel policing has been going
on for years. One foreign sales
agent ran into trouble twice at the
2009 fest. “The first time I was
stopped, I was wearing velvet evening boots. They were flat Dolce
& Gabanna black velvet boots,
and very posh. These were not day
boots,” she said. “They looked at
me and said, ‘No, no, no.’ Three
people came over to discuss it and
eventually they let me in, but it
was a big kerfuffle.”
The executive, who didn’t want
to reveal her name, wasn’t so
lucky the second time. “I remembered all the problems I had with
the boots, so I decided to wear
flat sandals. They were black with
little diamante stones and very
dressy. They turned me away. It
was just ridiculous,” she said.
With the festival denying such
a high-heel-only policy exists, the
decision over who gets let on the
carpet or not appears to come
down to its self-appointed fashion
police — the Palais’ somewhat
beefy security. One guard told
THR that it is up to individual
discretion of each security guard
to determine who is dressed
appropriately, and he said that at
least a small heel was necessary,
contradicting the official line.
THR witnessed a pair of bright
red clogs that had seemingly
been given a seal of approval on
Monday night.
In response to growing debate,
several festival guests have voiced
their opinions. Carol producer
Christine Vachon tweeted a photo
of some military-style boots with
the line, “my red carpet footwear.”
But of course, it’s not just the
women. The mandatory black
suit and bow tie is well known
(although black tie slip-ups — as
happened to The Sea of Trees
producers who had to buy bow ties
from street vendors — are commonplace), but there have been
footwear issues as well.
One reporter was turned away
on opening night for his glitter
tuxedo loafers and told they
should be “black only.” He later
spotted others inside wearing boat
shoes and brown heels. In another
incident, art dealer Larry Gagosian
reportedly had trouble getting
into the Carol premiere due to the
fact that he was wearing sneakers,
Oscar
C O N T I N U ED F R O M PA G E 1
CHARLOTTE BOUCON
HEAD OF INTERNATIONAL SALES,
SND/M6 GROUP
The French sales group has had a
banner Cannes, locking up major territory
presales deals for What Happened
to Monday?, the Tommy Wirkola-directed
sci-fi drama starring Noomi Rapace
and Glenn Close; and appealing to wineloving cineasts with Jerome Le Maire’s
viticulture-themed feature First Growth,
starring France’s Jalil Lespert.
MEANWHILE, IN THE REAL WORLD …
• AMC hit drama Mad Men’s finale
drew series-high ratings, averaging 3.3 million viewers.
• The Justice Department accused
six Chinese citizens of conspiring
to steal wireless technology from
Silicon Valley companies.
• Fox News Channel star Bill
O’Reilly denied allegations that
he physically abused his ex-wife.
• Avengers: Age of Ultron
unseated Furious 7 at the top of
the box-office charts in China,
taking in $156.3 million.
As for the other women making a big impression,
Emily Blunt got applause at the press screening
May 19 of Denis Villeneuve’s Sicario, in which she plays
an FBI agent drawn into a cross-border campaign
to bring down a Mexican drug lord, with THR critic
Todd McCarthy judging her performance “first-rate.”
By general agreement, Charlize Theron as a tough
road warrior stole Mad Max: Fury Road from its titular character, played by Tom Hardy. Even though Fury
Road falls outside the usual parameters of what’s
considered Oscar-worthy, the New York Post’s Lou
Lemenick tweeted, “I can see Charlize Theron getting
an Oscar nod for Mad Max: Fury Road. She owns it.”
And while Justin Kurzel’s Macbeth doesn’t screen
until May 23, the advance word is that Oscar winner
Marion Cotillard as the ruthlessly ambitious Lady Macbeth
delivers a showstopping “Out,
damned spot!” monologue.
Weinstein, who’s also distributing Macbeth, promised
that Cotillard and fellow star
Michael Fassbender deliver
“two of the most extraordinary
performances of the year.” And,
D8_cannes_news1+2_E.indd 2
Model Ines de La Fressange made her
way onto the red carpet for the Irrational
Man premiere wearing flat sandals.
but he eventually was admitted
thanks to some help from Harvey
Weinstein.
Villeneuve himself proposed
a protest over the shoe situation
for his Sicario gala screening.
“Benicio [Del Toro], Josh [Brolin]
and I will walk the steps in high
heels,” he said the press conference, but later backtracked to
THR, denying the world a historic
red-carpet moment.
“That would be beautiful,
but I have a strange feeling it
won’t happen,” he laughed, then
added, “Josh in high heels, that
would be sexy.”
Pamela McClintock contributed to
this report.
touting TWC’s upcoming releases, he also predicted
that Jake Gyllenhaal’s turn as a boxer in Antoine
Fuqua’s Southpaw would earn him the nomination
that eluded him last year for Nightcrawler.
Back among the competition titles, the Carol halo
should extend to the film’s creative team — from
Haynes (who’s yet to earn a best director Oscar nom)
to costume designer Sandy Powell (who could score
dual nominations, since she’s already earned raves
for her extravagant outfits in Disney’s Cinderella).
Sicario also could have awards coattails — especially
for Roger Deakins’ striking cinematography
If there has been a genuine discovery in the competition, it is first-time Hungarian director Laszlo
Nemes for Son of Saul, a harrowing tour of Auschwitz
from the point of view of a Jewish prisoner. The film
was quickly snapped up by Sony Pictures Classics,
and assuming the movie becomes Hungary’s foreign-language Oscar entry, it
Cotillard in Macbeth.
could well secure a nom.
There’s no question that
Inside Out, which debuted out
of competition Monday night,
is assured an animated feature
nom. Pete Docter’s follow-up to
2009’s Oscar-winning Up, the
movie was universally praised as
Pixar’s best in years.
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theREPORT
Deep-Pocketed U.S.
Buyers Drive Deals
in Revived Market
‘It’s a real turnaround from the past three markets, hopefully
it’s a good sign for the future,’ says one European buyer
By Scott Roxborough and Tatiana Siegel
I
t wasn’t just the weather
that was sunnier this year.
The Cannes market also
bounced back, with U.S. distributors in particular opening their
checkbooks for finished films
and foreign buyers finding ample
prebuy offerings.
The $20 million price tag for
Tom Ford’s Nocturnal Animals, for
which Focus Features/Universal
bought worldwide rights, was one
of the biggest deals of the market.
But Sony Pictures Classics set a
record by plunking down $6 million — the most ever paid by the
specialty label — for U.S. rights to
the James Vanderbilt-helmed Truth
(about the lead-up to CBS News
anchor Dan Rather’s resignation in
Who Will
Win the
Coveted
Palm Dog?
Halfway through the
fest, five canine
thesps are emerging
as the four-legged
frontrunners
By Alex Ritman
The previous winners:
2012 Banjo/Poppy from Sightseers
2013 Baby Boy from
Behind the Candelabra
2014 Hagan from White God
2004). Robert Redford plays Rather
and Cate Blanchett stars as his
producer Mary Mapes.
“We had multiple offers, but
[Sony Picture Classics’ co-presidents] Tom [Bernard] and Michael
[Barker] were very persistent and
passionate,” said Brett Ratner,
whose RatPac Entertainment
produced and financed Truth with
Echo Lake.
Two films sold for $4 million apiece for U.S. rights: the
Miles Teller boxing pic Bleed for
This (to Open Road) and the
Colin Firth starrer Genius (to
Lionsgate, which also teamed
with Roadside to pick up the
Matthew McConaughey starrer The
Sea of Trees). Other notable titles
to move include the Tom Hanks
who will pay up to $50 million
drama A Hologram for the King (to for Chinese rights to the film,
Lionsgate, Roadside and Saban
which Luc Besson will direct with
Films) and Patricia Arquette’s
Dane DeHaan starring.
follow-up to her Oscar win
“We were really surThe Wannabe (to eOne).
prised at how strong
On the international side,
Cannes was this year
foreign mini-majors found
because
two weeks ago,
Arquette
plenty to please them among
it looked like it was going
the prebuy titles on offer.
to be dead,” said Andreas
Sierra/Affinity enjoyed a
Klein, CEO of Splendid
banner market, quickly
Films, which picked up
selling out of its slate of new
four
titles, including SND’s
Firth
films across the globe, includWhat Happened to Monday?
ing a multi-territory pact with
and Liam Neeson starrer A Willing
Universal Pictures International
Patriot from Sierra/Affinity. “It
for Charlize Theron spy thriller The
marked a real turnaround from
Coldest City. Bill Block’s new sales
the past three markets, which
shingle Block Entertainment
were really slow. I’m hoping it a
shot out of the gate in its first
positive sign for the future.”
Cannes market, selling out most
The only complaints this year
major territories on its R-rated
came from midlevel buyers and
comedy Bad Moms starring Leslie
sellers, who noted that anything
Mann. And EuropaCorp’s sci-fi
not obviously commercial with
epic Valerian — rumored to have
A-list casts was hard to sell and
a mega $180 million budget —
risky to release, making deals few
closed territory after territory,
and far between.
with most going to EuropaCorp’s
regular distribution partners,
Pamela McClintock contributed
including Fundamental Films,
to this report.
?
2012
2013
2014
2015
On the 15th anniversary of the coveted Palm Dog, a clear runaway favorite hasn’t yet wagged its tail.
Among the canine contenders for the coveted collar, to
be revealed May 22, is the unnamed mutt from dark comedy
The Lobster, according to awards founder Toby Rose. THR’s
team of critics also singled out a Maltese poodle called Dixie
in the second chapter of Miguel Gomes’ Arabian Nights threeparter, the German-speaking Rottweiler in punk-rock
thriller Green Room and the dog from the outtake at the end
credits of Pixar’s Inside Out.
“Word has reached the Palm Dog team that there is a
dog chowing down on battlefield corpses in Macbeth,” adds
Rose. “Bad boy!”
Xavier Dolan’s End of the World Snags Germany,
Australia, Russia Deals By Etan Vlessing
S
eville International has sold Xavier
Switzerland, Poland’s Hagi, South Korea’s
Dolan’s next French-language film,
Atnine Film, Discovery Film in the former
It’s Only the End of the World, to
Yugoslavia and Portugal’s Alambique.
Germany’s Weltkino, Transmission Films
Seville is handling international sales
in Australia and Russia’s A-One Films.
of the film, excluding in France, and
Entertainment One’s boutique disearlier sold End of the World to Curzon
tributor, which picked up world rights
Artifi
cial Eye in the U.K., Italy’s Lucky
Dolan
to the film — starring Marion Cotillard, Lea
Red and Pictures Dept. in Japan. The
Seydoux and Vincent Cassel — ahead of Cannes, drama is being handled in France by MK2
also secured presales from Praesens Film in
and distributed by Diaphana/MK2.
D8_cannes_news3_E.indd 4
Buzz Titles —
A Year Later
THR looks at where some of the
big market projects of 2014 are now
By Georg Szalai
STORY OF YOUR LIFE
Denis Villeneuve’s Story of Your Life, starring
Amy Adams as a linguist helping the military to
determine if a group of aliens came to Earth in peace,
was one of last year’s hot titles. Sony Pictures Worldwide
Acquisitions and FilmNation grabbed distribute rights
for most international markets after Paramount prebought
it for North America and China. Jeremy Renner and
Forest Whitaker later joined the cast. Villeneuve is
in preproduction. Shooting is scheduled to take place
this summer in Montreal.
BASTILLE DAY
In 2014, Focus Features prebought
North American distribution rights at
Cannes to the Idris Elba thriller. Adele
Exarchopoulos also was attached but
was later replaced by Charlotte Le Bon.
Directed by James Watkins (The
Woman in Black), it centers on a rogue
CIA agent and a con artist who try to
stop a terror attack in France. Now
in postproduction, Studiocanal has
set releases for 2016 for Sweden, the
Netherlands and Belgium. Focus hasn’t
set a U.S. release date yet.
INVERSION
Mark Damon’s Foresight Unlimited
last year announced the sci-fi epic about
the loss of gravity in various regions of
the globe from writers Bragi Schut
and David Arata (Children of Men).
Scott Waugh has come on as director
of the $130 million movie, which is being
cast. Foresight is handling international
sales in Cannes.
Renner
Exarchopoulos
Le Bon
4
5/19/15 9:14 PM
at the
MEET
ME
AMERICAN PAVILION
MAY 20, 2015
TODAY at the american Pavilion
10:00 am
VirTuAl reAliTY FilmmAking
With filmmakers like Spike Jonze, Robert Stromberg and
Guillermo Del Toro embracing virtual reality as a filmmaking medium,
meet the founding team of oculus’ own film studio - ‘oculus Story
Studio’. having premiered their first vr movie at Sundance 2015 they
are at cannes to talk about learnings on vr storytelling.
Saschka Unseld, creative Director oculus Story Studio
(Director Pixar’s Blue Umbrella)
Max Planck, cto, oculus Story Studio
Edward Saatchi, executive Producer, oculus Story Studio
1:00 pm | industry in fOCus:
genre Film
Jeremy Saulnier, Director, Green room
Mette Marie Katz, XYZ Films
Tom Quinn, raDiUS-tWc
Jenny Jacobi, alamo Drafthouse
moderated by Jarod Neece, SXSW
2:00 pm | film panel:
kriSHA
thursday, may 21
4:30 pm | film panel:
DOPe
a 2015 Sundance favorite, and playing in cannes Directors’ Fortnight.
Director Rick Famuyiwa, producer Nina Yang Bongiovi and key
cast Zoe Kravitz, Chanel Iman, Toni Revolori, Quincy Brown,
Kiersey Clemens, Shameik Moore, A$AP Rocky
moderated by Jada Yuan, new York magazine
8:00 pm
kArAOke nigHT
hear from the Krisha filmmakers that won the 2015 SXSW Jury
award and playing in critics Week.
Director Trey Edward Shults, Krisha Fairchild and other key
cast and crew
moderated by Claudette Godfrey, SXSW
Open daily 8am-6pm during the festival restaurant | Bar | Business Center | free Wifi
ASSOCIATE SPONSOR
JOIN TODAY: AMPAV.COM
American Pavilion D8 052015.indd 1
5/13/15 3:17 PM
theREPORT
Bel Powley
Circles Ashes
Will Noe’s Love Face Censorship?
By Tatiana Siegel
By Scott Roxborough
B
el Powley, the breakout
star of Diary of a Young
Girl, is attached to play
the lead in Ashes in the Snow, a
World War II drama based on
the best-seller Between Shades
of Gray by Ruta Sepetys.
Marius Markevicius, helmer
of the Film Arcade/Lionsgate
documentary The Other Dream
Team, will direct Ashes and will
produce alongside Jonathan
Schwartz of Super Crispy
Entertainment and Zilvinas
Naujokas of Tauras Films.
Principle photography is set to
begin this winter.
Ben York Jones (Like Crazy)
adapted Sepetys’ story, a
coming-of-age tale of 16-yearold Lina Vilkas (Powley) who
is deported to Siberia amid
Stalin’s reign of terror in the
Baltic region during the war.
An aspiring artist, she secretly
documents her harrowing journey with her drawings.
Powley’s broke out with
Diary of a Young Girl, in which
she played a teenage girl who
has her first sexual experience
with her mom’s boyfriend.
Sony Pictures Classics will bow
Diary in the U.S. on Aug. 7.
Powley will next be seen in
Drake Doremus’ sci-fi romantic
drama Equals, starring Nicholas
Hoult and Kristen Stewart, and
recently wrapped production on Christopher Smith’s
psychological thriller Detour,
with Tye Sheridan. Powley is
also attached to star opposite
Elle Fanning in A Storm in the
Stars, to be directed by Haifaa
Al-Mansour.
Powley
A
udiences are about to get
a first peek at Gaspar
Noe’s hypersexual 3D
Love on May 20. But will
theatergoers see the same
film — said to be a graphic
ode to the three-way — when
Alchemy releases it in the U.S.?
“Alchemy supports Noe’s vision
and is excited to bring the Cannes
version to theaters and as many
platforms as possible in the U.S.,”
says Brooke Forde, executive vp
marketing at Alchemy, which
bought North American rights
to the film May 15. “We will do
everything we can to protect this
masterful film.”
If Love lives up to the hardcore hype (the film centers on
the erotic relationship between a
boy and two girls), Alchemy will
have to walk a delicate line of
appeasing its Belgian auteur —
whose previous film, Irreversible,
featured an extended rape scene
with actress Monica Belluci —
and assuaging potential
output partners. Given
that the upstart distributor
is not an MPAA signatory,
Noe
Alchemy doesn’t need to
secure a rating — meaning the
film likely will go out unrated
in the U.S. (the way Lionsgate’s
Irreversible did in 2003) or with
an NC-17 (like IFC Films’ Palme
d’Or winner Blue Is the Warmest
Color did in 2013). But unlike
previous films, Love faces the
unique challenge of being 3D
and would need theater partners
outfitted for 3D. And like other
Alchemy titles, Love will go out
on Netflix’s streaming service.
Netflix has streamed other NC-17
films in the past, such as Ang Lee’s
Lust, Caution and Abel Ferrara’s
Bad Lieutenant, but the company’s
policy is murky.
China’s Youku Tudou
Eyeing Baidu’s Video Unit
By Clifford Coonan
J
ust days after Chief Content Officer Ted Sarandos
announced in Cannes that Netflix is seeking Chinese
partners, rumors are flying that streaming site Youku
Tudou — essentially China’s version of YouTube — is planning a multibillion-dollar merger with Baidu’s online video
subsidiary unit iQiyi and Tencent Video.
China’s massive online video market is diverse, with
a top five including LeTV, Tencent Video, Sohu.com,
Youku Tudou and iQiyi and numerous small players, and
analysts believe it’s a question of when, not if, the industry
consolidates.
These whispers got louder with the announcement by
Netflix last week that it was talking to Wasu Media, a
Chinese media group backed by Alibaba chief Jack Ma,
and other possible partners, as it tries to crack the Chinese
online video market.
Baidu, China’s biggest search engine, reportedly tried to arrange a tie-in between iQiyi and
Youku Tudou several months ago, with iQiyi
trading stock for an equivalent in Youku Tudou,
which would then be followed up by more investSarandos
ment from Baidu.
According to speculation on the sidelines of the Cannes
Film Festival, one likely scenario involves Tencent trading
its video division for Youku Tudou stock and following this
up with additional investment. The new company would be
run by Youku Tudou management.
“The rumors make sense, although moving from Baidu
would make iQiyi lose its search-engine optimization,” said
one industry figure active in the online market. “There has
been a sense that consolidation is inevitable and news that
Netflix is coming has made people nervous.”
D8_cannes_news4_G.indd 1
Love
It also remains to be seen
whether Love’s teaser posters
— including one with a nude
woman’s hand clutching a penis
post-climax, with the tagline
“Coming soon” — will survive the
film’s eventual U.S. release. But
the last thing Alchemy wants is
a war of words to erupt, which
happened between Ferrara and
IFC over Welcome to New York (the
filmmaker called IFC executives
“punks” and accused them of
trying to compromise his film by
calling for an R-rated cut).
Says Forde, “We are not in the
business of retooling or censoring
an artist’s work.”
Carnaby Seals
Int’l Deals on
Rhys Meyers Spy
Thriller By Alex Ritman
L
ondon-based sales and distribution
banner Carnaby International has
locked down a series of acquisitions
for its post-Cold War, Middle East-set
spy thriller, Damascus Cover. Among the
pickups for the title — starring Jonathan
Rhys Meyers and John Hurt and currently
in postprodcution — were HGC in China,
India’s Empire Networks and South
African distributor Crystal Brook.
Carnaby also secured a number
of sales for its upcoming comedy-drama Salty, from Con Air and
Expendables 2 director Simon West,
Rhys Meyers
teaming again with HGC for China.
Other buyers for the title — which is
described as The Hangover meets Get Him
to the Greek and follows an aging rock star
whose ex-wife is kidnapped by pirates —
include Prorom for six eastern European
territories, Flins y Piniculas for Spain and
Vistcom for India, Singapore, Thailand
and Vietnam.
Other sales included Arthur and Merlin,
which went to Germany (Tiberius),
China (HGC), Spain (Flins y Piniculas)
and the former Yugoslavia (Discovery),
and Mercury Plains, starring Scott
Eastwood, which also went to Flin y
Piniculas for Spain.
6
5/19/15 9:31 PM
CANNESDEALS
Summerstorm, Vandal and
Italia Team on Action Slate
Production shingles Vandal and Germany’s
Summerstorm have teamed up with Middle
East distributor Italia Film to set up a development fund for a slate of new features that
Vandal and Summerstorm will produce and
Italia will distribute in its territories.
The first project Italia will acquire under the
new agreement will be The Feud, an action
thriller starring Twilight’s Kellan Lutz. Steven
C. Miller is on board to direct. Lutz will play
Lutz
a man who returns to his Midwest hometown
for his brother’s funeral, only to find himself in a life-ordeath battle with a local crime lord who traps him and his
friends in an abandoned farming complex.
Highland Film Group is handling international sales in
Cannes for The Feud.
Beirut-based Italia will take rights in the Middle East,
Turkey, Greece and India for the project.
Multiple Markets Take
Vinterberg’s Commune
Cannes buyers are eager to join
Thomas Vinterberg’s Commune.
The upcoming drama, about the
clash between individualism and
solidarity in a 1970s Swedish
commune, sold to multiple territories, including Spain (Golem),
Korea (Challan), Russia (Silver
Box) and Switzerland (Praesens
Film). TrustNordisk is handling
international sales.
Commune
Zentropa Opens
Hamburg Outpost
Danish production giant
Zentropa has set up a new
WHO’S INKING
ON THE DOTTED LINE
AT THE FESTIVAL
By Scott Roxborough
The first project to be developed under
the Italia deal will be Command & Control, a
conspiracy thriller from Skyscraper writers
Byron Willinger and Philip De Blasi. Vandal
and Summerstorm are currently shopping
the project to directors. The spec script
follows an NSA employee as he takes over
the most secure room in America: U.S. Cyber
Command — and commandeers its spyware
tech to unravel a government conspiracy.
“The growing Middle Eastern market has
shown a serious appetite for the sort of elevated action
fare we aim to produce,” said Gabriela Bacher, CEO
of Summerstorm parent company Film House Germany,
and Vandal Entertainment founder Navid McIlhargey
in a joint statement.
The deal was brokered by Penny Karlin of The Karlin
Connection.
operation in Hamburg, to
be run by German producers Fabian Gasmia and Henning
Kamm. Gasmia and Kamm will
also take over as joint heads of
Zentropa Berlin, the company’s
shingle in the German capital.
Rebel Sells Four
Horror Titles
Spanish producer Jose Magan’s
Rebel Movies has sold four
planned horror films with
female stars to several territories: The Malevolent with Mischa
Barton, Ravenous, starring Tara
Reid, Overtime with Paz de la
Huerta and The Stacks with Ana
Cota. Krisco Media has taken all
four movies for the Middle East,
India and Vietnam. Manifest
Film Company has taken
Malevolent for Russia.
Lives in Secret
Scores Pickups
Paris-based Other Angle has
closed a raft of sales on the Tim
Roth project Lives in Secret,
including Australia, South
D8_cannes_deals_H.indd 7
KA-CHING!
Africa, Latin America, Poland,
Turkey, the Middle East and the
former Yugoslavia. Advanced
talks for the U.K., France,
Belgium and Japan are expected
to close soon. The project, based
on Sarah Helm’s nonfiction
World War II spy story, co-stars
Kelly Reilly (True Detective) and
is produced by Jeremy Bolt
(Resident Evil).
Arclight and Huace Ink
Development Deal
Following their first collaboration, the female-led action
movie Lights Out, Arclight Films
and China’s Huace Media have
inked a development deal with
writers Jeff Byrd and Lamont
Magee to create original feature content. Arclight, which
teamed up with Huace late last
year, said it was working with
Huace to package the movie and
that a leading Chinese actress
is in final negotiations to star
in Lights Out. French director
Xavier Gens has been attached
to direct the film, and shooting
begins this summer.
7
5/19/15 8:25 PM
theREPORT
Critics’ Picks:
Best of the Fest
at the Midpoint
Carol
THR critics’ faves include a lesbian love story,
a harrowing Auschwitz-set thriller, a dystopian satire
and new diversions from Woody Allen and Pixar
The Lobster
Amy
Irrational Man
(OUT OF COMPETITION)
British director Asif Kapadia’s tender,
intimate documentary portrait of
Amy Winehouse reminds us that the
self-destructive London singer was
supremely talented and charismatic,
but ill-equipped for the superstar fame
that came with her 20 million-selling
breakthrough album, Back to Black.
Woody Allen is back in fine form
with this slinky, jazz-infused existential
teaser that finds various themes
from some of the veteran filmmaker’s
most memorable work dovetailing
into a darkly humorous quasithriller centered on a philosophy
professor (Joaquin Phoenix) and
his student lover (a captivating
Emma Stone). — DAVID ROONEY
— STEPHEN DALTON
Carol
(COMPETITION)
Cate Blanchett and Rooney Mara
deliver outstanding performances as
two women precariously charting a
path toward a romantic relationship
in 1952 in Todd Haynes’ absorbing,
intelligent and beautifully crafted,
if somewhat studied, adaptation of
Patricia Highsmith’s novel The Price
of Salt. — TODD MCCARTHY
Inside Out
Pete Docter’s latest ingeniously
personifies the sensations associated
with early adolescence as a bunch
of competitive cartoon characters
in an avant-garde head trip repack
aged as mainstream entertainment.
The film pulls off the classic Pixar
trick: It’s captivating fun for kids,
smart for adults. — T.M.
Irrational Man
The Lobster
My Golden Days
Son of Saul
(COMPETITION)
(DIRECTORS’ FORTNIGHT)
(COMPETITION)
Greek writer-director Yorgos
Lanthimos (Dogtooth) makes an
effortless transition to the big
leagues with his hilarious, haunting
futuristic parable about a world where
citizens must choose a mate or be
turned into animals. Colin Farrell,
Rachel Weisz and Lea Seydoux lead
the excellent cast. — LESLIE FELPERIN
From Arnaud Desplechin, one of the
Frenchest of French directors, comes
this heartfelt, melancholy tale of adolescent love, anchored by the hypnotic
turns of Quentin Dolmaire and Lou
Roy-Lecollinet. Their exchanges
crackle with the excitement of youth
and inexperience. — BOYD VAN HOEIJ
Hungarian newcomer Laszlo Nemes
vividly evokes the hell of the Nazi death
camps through his tale of a Jewish
Sonderkommando worker at Auschwitz
who discovers the corpse of a boy he
claims is his son. The film is hard to
watch but pulled off with striking stylistic confidence. — B.V.
Sicario
Tale of Tales
(COMPETITION)
(COMPETITION)
Many films over the years have
employed the violence of the
inter-American drug trade as a
backdrop, but few have been as
powerful and superbly made as Denis
Villeneuve’s intensely physical new
work. As the FBI agent at the center of
the drama, Emily Blunt gives a sharply
penetrating performance. — T.M.
Drawing on 17th century Neapolitan
fairy tales, Italian director Matteo
Garrone delivers a visually imaginative take on the kind of yarns that have
come down to us from the Brothers
Grimm, making them feel pleasingly
unfamiliar. Salma Hayek, Vincent
Cassel and Toby Jones headline an
international cast. — DEBORAH YOUNG
The Measure of a Man
(COMPETITION)
French star Vincent Lindon gives
a powerhouse lead performance
as an unemployed factory worker
trying to make ends meet in
Stephane Brize’s gripping,
politically charged and surprisingly
warm chronicle of working-class
France. — JORDAN MINTZER
THE FRENCH TV HO ST
cannes according to ...
ANTOINE DE CAUNES
Presenter, CanalPlus’
Grand Journal de Cannes
Place to avoid during
the festival?
Try to avoid walking for long
stretches on the Croisette.
It’s hot, crowded and full of people who don’t know why they’re
there or where they’re going.
Most of them are taking selfies
or trying to spot celebrities.
Favorite place to hide out
and relax during the fest
There’s an old-fashioned Cannes
restaurant called Le Machou,
founded in 1963 by the famous
French actor Jean-Claude
Brialy. The menu is simple: a
giant basket of crudites with
anchovy sauce, and a choice of
grilled chicken, lamb or steak.
It’s like stepping back into the
1970s and ’80s, and I’m a sucker
for nostalgia.
Best place to grab a
drink after 3 a.m.
I avoid nightclubs. I prefer to
sneak out on the beach in front
of the Martinez with a few friends
and a bottle of nice red wine.
D8_cannes_news-critics_J.indd 8
Craziest moment you’ve have
had during the festival
A few years ago, we had Sharon
Stone on the show. The crowd
went wild. After a while she had
to leave to attend a screening.
We replaced her with a very
cheap — although funny —
[male] impersonator whom I
threw into the still wild audience.
We had a lot of trouble getting
him back alive.
Craziest celebrity encounter
I once went to greet a legendary
British actor in his dressing
room just before the show and he
was fully naked. He just
stood there, shook my hand
said things like “jolly good”
and carried on a five-minute
conversation with everything
hanging out. Very odd.
What do Americans not understand about the French?
That we have a very fine-tuned
sense of humor, complete with
irony, sarcasm and dry wit. They
still think we’re all about Jerry
Lewis and fart jokes. Not that I
have anything against a good fart
joke — but there’s a bit more to
French humor than that.
8
5/19/15 8:11 PM
Last year, 907 million people
went to the cinema in Europe!
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Film Expo D1 051315.indd 1
5/7/15 1:54 PM
About Town
CANNES HITS THE RED CARPET
1
2
1 From left: Louder Than
Bombs’ Devin Druid, Rachel
Brosnahan, director Joachim
Trier, Isabelle Huppert and
Gabriel Byrne at the premiere
of the competition film.
2 From left: Inside Out’s Phyllis
Smith, Amy Poehler, Lewis Black
and Mindy Kaling at a photocall
for the Pixar film.
3 Rachel Weisz attended the
IFP and Calvin Klein Women
In Film party, where she chatted
up producer Megan Ellison
and fondly recalled her last
Cannes experience in 2009
for Agora and said she’s
honored to be back.
4 Actress Anais Demoustier
of the competition entry
Marguerite & Julien.
5 Sicario actor Josh Brolin,
newly engaged to his former
assistant, Kathryn Boyd, arrived
in Cannes for a photocall for
Denis Villeneuve’s competition
film.
6 From left: The Measure of a
Man producer Christophe
Rossignon, lead Vincent Lindon
and director Stephane Brize at
the competition title’s premiere.
5
6
8
7 From left: Actress Richa
Chadda, director Neeraj
Ghaywan and actress Shweya
Tripathi and actor Vicky Kaushal
at a photo call for their Un
Certain Regard film Masaan.
9
8 The French voice cast of Inside
Out attended the film’s
premiere. From left: Gilles
Lellouche, Melanie Laurent,
Pierre Niney, Charlotte Le Bon
and Marilou Berry.
9 Chinese actress Fan Bingbing
at the Chopard party.
10 From left: Pixar chief creative
officer John Lasseter, Inside Out
director Pete Docter, producer
Jonas Rivera and co-director
Ronaldo Del Carmen flashed big
smiles at the premiere.
D8_cannes_RC_D.indd 10
10
5/19/15 7:56 PM
Party
Reviews
CHOPARD GOLD NIGHT ▲
3
LOCATION Porto Canto
The luxury jeweler threw down a major
party exclamation point with a fete for
700 guests May 18. The annual affair
featured a mini concert by international
pop star Robbie Williams, who performed
hits “Rock the DJ” and “Angels” while
revelers swilled Grey Goose cocktails and
Boizel champagne. The location was decorated to resemble a gold mine, complete
with a bridge across the venue. Outside,
party-starved crashers caused a scene;
inside, Chopard-blinged guests included
Uma Thurman, Fan Bingbing, Michelle
Rodriguez and Adriana Lima.
4
INSIDE OUT PREMIERE
7
10
LOCATION Carlton Beach
One emotion was at the center of the beach
party celebration for the animated family
film: joy. Bathed in the colors of the five
main characters (Joy, Sadness, Anger,
Fear and Disgust), the Inside Out party
had plenty of entertaining activities for its
guests, including a themed photo booth, a
large dance floor and many buffet tables.
Pixar’s John Lasseter was seen dancing on
tables past midnight. Guests were treated
to a special parting gift: buttons with
images of the characters, so everyone could
pick their favorite emotional alter ego.
IFP AND CALVIN KLEIN’S WOMEN IN FILM
LOCATION Private villa
The hosts toasted a fifth annual Cannes
bash by moving to an over-the-top location
in the hills above town, a glamorous
estate whispered to cost $50 million. This
year’s honorees included Rachel Weisz,
Isabelle Huppert, Melanie Laurent, Emily Blunt
and Sienna Miller, all looking chic in dresses
by affable designer Francisco Costa, who
weaved his way through the bash along
with Jake Gyllenhaal, Harvey Weinstein,
Megan Ellison and a smattering of models.
A special treat: A live performance by hot
girl group Haim.
BRIZE, WEISZ: REX FEATURES VIA AP IMAGES. DRUID: VIANNEY LE CAER/INVISION/AP. BINGBING: IMAGINECHINA VIA AP IMAGES. SMITH, BROLIN: ARTHUR MOLA/INVISION/AP.
LELLOUCHE: JOEL RYAN/INVISION/AP. LASSETER, CHADDA, DEMOUSTIER: AP PHOTO/LIONEL CIRONNEAU. CHOPARD PARTY: COURTESY OF CHOPARD.
D8_cannes_RC_D.indd 11
5/19/15 7:56 PM
SCENE+HEARD
About Town
Gary Baum and
RAMBLING REPORTER By
Chris Gardner
One Family, Fest Photos Since 1917
“It’s not a film festival without a Traverso,” says
Gilles Traverso, the third generation official photographer of the Palais. Great-grandfather Auguste
Traveso started the tradition in 1917, snapping such
dignitaries as Winston Churchill, Charles De Gaulle
and King Farouk when they wintered in Cannes each
year, and was on hand to take pics of Louis Lumiere
arriving at the first festival (then only a one-day
event) in 1939. Father Henri followed in his footsteps at age 15 and went on to take famous pics such
as that of a young Brigitte Bardot barefoot on the
beach. “The atmosphere and way of life was different then. The stars had time to stay the whole [three
weeks] and go out. You could get a picture of Liz
Taylor walking along the Croisette or Burt Lancaster
on the beach. Can you imagine now asking Sharon
Stone to do that?” Gilles started shooting at age 18
in 1977. One of his first tasks was to photograph
Jane Fonda at the Carlton. “I asked [my father], ‘Are
Confessions
of a Cannes
Concierge
With bizarre requests
from birds to barbed
wire, Patrick Toblem of
Cote d’Azur concierge
company Master C
services the superrich
in Cannes and Monaco
during the dueling events
of the film festival and
Formula 1 Grand Prix.
He took a break to tell
THR about some of
his strangest inquiries.
— R.R.
Gilles took the
above pic of
Fonda this year;
dad Henri shot
Lancaster on the
beach in 1963.
you sure I should go alone?’ ” Gilles recalls. After
taking just 12 frames on an old camera, “I ran back
to the lab to make sure there was something on my
film! There was. I showed my father the photos and
he said, ‘OK, you got it right.’ ” Henri retired in
1982, but Gilles has shot Fonda throughout the years
and saw her again this week: “She was on the steps
last night. She remembered our history.” Among
Gilles’ favorite photos is Henri’s shot of a young
Robert De Niro, in town for Taxi Driver in 1976. “It’s
something special to be there at that moment when
an actor becomes a star.” — RHONDA RICHFORD
► The tired executive who needed a
1 a.m. massage — for 10 “He wanted
10 tables within two hours so he and his
friends could have simultaneous massages
around the pool of his villa,” says Toblem.
With a list of 3,000 service providers
on speed dial, Toblem had the extra
hands on deck within two hours. “When
it comes to last-minute, late and outof-the-ordinary requests, it’s just a
matter of if they are willing to pay and
we can achieve it.”
► The client who asked for barbed
wire “One of the things about being
a concierge is you have to stay as discreet
as possible and mind your business. If the
client doesn’t want to let us in on his motivation, it’s not up to us to question him. All
we know is he wanted barbed wire, and we
assume he had a good reason for it.”
► The yacht owner moored in the bay of
Cannes who had a serious Starbucks craving With the only local outpost of Seattle’s
coffee purveyor in Nice, Toblem had a driver
at the ready and a helicopter on standby
to deliver the drink from barista to
boat within 25 minutes. Ultimately the
client didn’t balk at the $5,000 price
tag but decided that the Frappuccino
wouldn’t have been at its freshest.
► The member of one royal family
who requested 100 organic guinea
fowl to be delivered for hunting
Where? “I’m not allowed to say. If I tell
you where, you would immediately know
what king it is,” Toblem says. “And I’m sure
he’d know, because he’s the only king that
made that kind of request. When it comes
down to a royal family, it’s very inappropriate to drop names.”
€12
• F E S T I VA L F O O D FA C
€8
ZE BEST
!
E-OFF •
Profiteroles
The hollowed-out cream puffs, said to have
been invented by French Queen Catherine de
Medici’s royal cook (although some food historians
dispute the claim) appear on dessert menus
across Cannes. This pair of restaurants fill their
profiteroles in the American (ice cream) and the
European style (pastry cream).
LE VESUVIO 68 BOULEVARD DE LA CROISETTE
A castle-like profiterole presentation is all sugardusted almond slivers resting atop flowing chocolate
sauce and bouffant swirls of whipped cream at this feisty
Italian stalwart along the Croisette just west of the
Hotel Martinez. The trouble is, the choux pastry here is
deadening in its density, absorbing both the sauce
around it and the vanilla bean ice cream inside it, rather
than retaining its own textural character.
D8_cannes_rambling_D.indd 1
Harvey Weinstein made a pit stop on
May 18 at a bash aboard Ron Perelman’s
yacht off the coast of Cannes. One guest
revealed that while it was a typically
glamorous boat party, “There wasn’t
enough food. Same old story around
here.” … Andie MacDowell told THR
that she can’t wait to come back to
Cannes for a real “glamour” trip. But
wait: Aren’t her annual L’Oreal trips
oozing glamour already? “Yes, but
I want to come back when I’m not
working, stay at the Du Cap and sleep
in until noon.” … “It’s called Haut
Rosé,” Emily Blunt declared at the IFP/
Calvin Klein party at a private estate
on Monday night, describing the best
rosé she’s ever had in her life. … At the
same party, Sienna Miller was cracking
up on the red carpet when she was
asked if she’s having a blast with her
children while in Cannes. “I only have
one,” corrected the star, who has
been spotted walking with 2-year-old
daughter Marlowe on the beach early in
the morning before jury responsibilities
pull her in other directions. “Have I
managed to procure [another] child?”
… The Palazzo space inside the VIP
Room Club at the JW Marriott is already
shaping up to be the hotspot on May
20, with club sources saying that
Madonna and P.Diddy are expected to
attend, along with Diddy’s son, Quincy.
… Actress turned model
Madalina Diana Ghenea
bares all in a full-frontal
nude scene in Paolo
Sorrentino’s competition
title Youth. Her co-star,
legendary actor Michael
Caine, says the fleshDiCaprio
flashing foray should be be
one and done. “After I did it, Michael
Caine told me, ‘That was wonderful, but
don’t do it again. Not in other films.’ So I
won’t.” ... At the Nikki Beach-supported
Heart Fund charity gala at the Carlton,
Leonardo DiCaprio plunked down
10,000 euros for a Chanel bag. His
generous contribution helped the event
raise 5.1 million euros for the cause. Mos
Def performed in front of DiCaprio and
such guests as Akon and Paris Hilton.
SAN TELMO 31 RUE HOCHE
Situated at a particularly charming pedestrianonly intersection in Cannes, San Telmo turns out a
more polished take on profiteroles. A pair of cream-filled
pastries layered in a coating of silky chocolate mousse
is offset by whipped cream distinctly airier than
Le Vesuvio’s. In fact, the whole experience is lighter —
the profiteroles, despite the challenges, remain inexorably
flaky, even delicate: a mark of triomphe.
12
5/19/15 4:57 PM
PROMOTION
Kering &
The Hollywood Reporter
present
A series of thought-provoking
conversations with the leading women in
film from the 68th Cannes Film Festival
with
Salma Hayek Pinault
Frances McDormand
Isabella Rossellini
Claire Denis
Golshifteh Farahani
Christine Vachon
& Elizabeth Karlsen
NOW LIVE
THR.COM/ WOMENINMOTION
#THRxKering | #WomenInMotion
cannes_ad_kering.indd 1
5/18/15 10:53 AM
STYLE
FASHION
WHAT TO BUY, WEAR AND KNOW IN CANNES
by Chris Gardner
Cannes 2015: Best Dressed (So Far)
J
ust past the halfway point, Cannes hasn’t
disappointed on the fashion front. THR’s
picks for best dressed include A-listers
Cate Blanchett, Lupita Nyong’o, Emma Stone,
Charlize Theron and Naomi Watts at the Palais. The
big surprise this year: Simple looks like Stone’s
classic Dior Couture stood out just as much as
Blanchett’s stunning, experimental Giles. It’s the
latter who will likely be remembered for pushing
the boundaries yet again, while other stars opted
for safe (maybe too safe?) Hollywood glamour.
Jury member Sienna Miller also has drawn raves
for her seamless transition from boho to brilliant,
impressing with her diverse taste and impeccable
ensembles such as a body-hugging navy Lanvin
and an off-the-shoulder Balenciaga.
Honorable mentions go to Julianne Moore in
striking velvet and faux-crocodile by Givenchy,
Natalie Portman in two elegant Dior Couture
dresses, Diane Kruger in Prada, Salma Hayek in
va-va-voom purple Gucci and Liya Kebede in Louis
Vuitton and a Proenza Schouler sequined dress
with grommet details. They and their peers have
once again turned Cannes into a hotbed of haute
couture. Stylist Petra Flannery, who dressed Stone,
tells THR: “In this small yet incredibly charming
setting, everything seems larger than life.”
DRESS
DU
JOUR
Blanchett
in Giles ►
◄ Stone
in Dior
Couture
MELANIE LAURENT
◄ Theron in
Dior Couture
in Zuhair Murad Haute Couture
Watts
in Elie Saab
Couture►
The French actress, who provides
the voice for Mindy Kaling’s character
in the French version of Pixar’s
Inside Out, turned up for the film’s
red-carpet premiere in a gold beaded
short-sleeved gown in silk tulle from
the designer’s spring 2015 collection.
The belted creation shimmered
with sequins and crystals and showed
just enough skin to steal attention
and still remain elegant.
Nyong’o
in Gucci ►
E
QU E L L R !
EU
H O R R uch
m
o
o
T
d
of a g o o
?
g
n
i
th
1
The Cannes festival often launches new trends, and it seems
one takeaway from the 2015 red carpet is the explosion of extra
fabric. Many ladies took the phrase “go big or go home” literally
in gowns that overflowed in every direction, from Bollywood
star Sonam Kapoor in Ralph & Russo Couture at The Sea of
Trees’ premiere to Russian model Natasha Poly’s bold if not
overpowering Atelier Versace at the Carol screening. The
reaction to British model Erin O’Connor’s red Ralph & Russo at
Carol was mixed: Some cheered the drama of it, while others
thought its large vertical bow overpowered her small frame.
Whether or not the volume trend makes its way stateside, one
thing is certain: It’ll be expensive to ship all that heavy cloth.
D8_cannes_preta_E.indd 1
1 Kapoor in
Ralph & Russo.
2 O’Connor in
Ralph & Russo.
2
3
3 Poly in
Atelier Versace.
14
5/19/15 5:13 PM
June 16th & 17th, 2015
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15/05/2015 10:36
5/15/15 10:53 AM
“I couldn’t make an
extremely realistic film if
I tried,” says Lanthimos.
Q&A DIRECTOR
Yorgos Lanthimos
The Greek auteur discusses his warmly
received competition entry The Lobster
and why he’ll never make a James Bond
film By Alex Ritman
The Lobster doesn’t sound like your average
romantic comedy. How did you first pitch the
idea to people?
I usually started by saying that it’s a world
where single people are no longer tolerated,
so whenever they become single, they become
incarcerated in this hotel. So that was where
you start. And then you go: If they fail to find
a mate, they’re transformed into animals. And
then people started asking all the questions
about the animals, which has become more of
an issue, because it’s a fairly simple thing in
the film. They just become an animal and are
let out into the woods. There’s no impressive
transformation. They don’t speak.
Was there something in particular that
gave you the idea?
Not really. Every time I finish a film with my
co-writer Efthymis Filippou, we just start
discussing what we want to do next, and it just
Dogtooth has been credited with launching what
is often termed the new wave of surrealist films
out of Greece, borne out of the recession. Where
do you think this came from?
First of all, I don’t really agree that there is
such a wave. There are realistic films in Greece
as well, and comedies and dramas. But it’s a
very popular label. In our case, it just comes
naturally. I don’t think I can do it any other
way than finding the absurdity in situations
and the funny part of something really dark
and dramatic.
Why did you decide that this film would be
your first in English?
I’d already done three films in Greek, and
I’d reached a point where I needed to progress
in a certain way which wasn’t really possible
in Greece. And I had in mind that I’d wanted
to do English-language films at some point
and work and film in different countries. It
just felt like a natural progression.
So you can’t envisage yourself going down a bigbudget popcorn route? Maybe a James Bond?
I don’t know if I would ever be capable of making a film like that. Just the logistics of it gives
me nightmares. I can barely handle the films
that we’re making.
You’ve got quite a long list of co-producers.
Did working in English give you access to more
producers and bigger budgets?
It’s not really that big. Just the fact that there
are so many co-producers should hint that the
budget is quite low. But it does help, well, up to
a certain point. It’s very different how we made
our films in Greece — they were extremely
low-budget, but we were making them with
friends who were very talented but worked
for no pay. So the films have much more value
than the actual budget that we shot them for.
Was this the reason for you
moving to the U.K.?
In a way, yes, although actually
in the end I didn’t really make
a British film. It’s much more
European/international. But yes,
as a base, if I’m making a film in
English, it just made a lot more
sense to do it here than in Greece.
I moved here four years ago — it
was a very conscious decision.
The goal was to start making
D8_cannes_Q&A_Lanthimos_D.indd 16
films in English anywhere.
develops from there. He has an idea about
single people that are taken to a hotel and
they find someone, and I go, “Oh, what about
if there’s this other world and we create this?”
It’s just a conversation between two people
who want to make another film. We find whatever it is we want to explore.
How did you feel when you were nominated for
an Oscar? Was it a shock?
Yeah, it was. It wasn’t really expected.
I did try to play it cool, though. I was doing
this Chekhov play at the Greek National
Theater and we were in rehearsals. I just
received this text saying that I’d been nominated and I was like, “Yeah, yeah, let’s continue
the rehearsals, it’s no biggie.”
But then everybody started to
BY THE NUMBERS
hear about it and nobody was
concentrating. So in the end
we had to acknowledge it and
Feature films directed
celebrate. I guess it was really
unexpected, like everything with
Dogtooth. At some point, I even
International awards won
started to see it in a negative way,
like, “Why are all these people
giving awards to this film, what’s
Oscar nomination
happening? Is there some kind of
(best foreign-language film in
conspiracy going on?”
2009 for Dogtooth)
5
16
1
16
VILTORIO ZUNINO CELOTTO/GETTY IMAGES
I
N A DYSTOPI A N N E A R-F U T U R E ,
singletons are confined to a hotel and given
45 days to find a partner. Should they fail,
they’re transformed into animals of their
choosing and released into the woods. So
begins the premise of The Lobster, which would
seem somewhat obscure were it not for director and co-writer Yorgos Lanthimos, whose
last film in Cannes, Dogtooth, saw a group of
sexed-up siblings forced to remain within a
compound by their abnormally protective
father and made to believe that their mother
was about to give birth to a dog, among other
peculiar lies. Dogtooth went on to claim the Un
Certain Regard prize, a haul of other festival
gongs and even an Academy Award nomination, and saw Lanthimos hailed as the head
of an emerging new wave of surrealist Greek
filmmakers. The Lobster, his first Englishlanguage feature, could go even further given
its warm reception in Cannes following its
premiere May 15 (THR’s Leslie Felperin called
it a “hilarious and haunting surreal parable”).
Boasting an all-star cast that includes Colin
Farrell, Rachel Weisz, Ben Whishaw, John C.
Reilly, Olivia Colman and Cannes Palme d’Or
winner Lea Seydoux, Lobster is already among
the bookies’ favorites to claim the Palme d’Or.
THR spoke to Lanthimos — a London resident for the past four years — about playing it
cool when he got the Oscar text and why the
thought of doing a big-budget popcorn movie
gives him nightmares.
5/19/15 1:38 PM
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5/12/15 10:37 AM
5/12/15 9:43 AM
CANNES DIARY 2015
THR’s cameras trained their lenses on A-list talent, auteurs, film icons and festival
first-timers — from France’s grande dame Catherine Deneuve to Todd Haynes to new ‘It’ girl Alicia Vikander — as they prepared to offer their latest projects at the Palais
by Rebecca Ford • photographed by Fabrizio Maltese • photo portfolio produced by Jennifer Laski and Fabrizio Maltese
D8_cannes_portfolio_D.indd 1
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5/19/15 7:16 PM
▲ Carol’s
Cate Blanchett (left)
and Rooney Mara
Mouton Cadet Terrace, Palais des
Festivals, May 18 | 3:15 P.M.
“There’s a real isolation to
Carol because she’s shut down
the possibility of feeling the
feelings that erupt between
our characters, and that
ambushes her,” says Blanchett
of playing a 1950s married
woman who has an affair
with Mara’s character in Todd
Haynes’ competition entry.
Isabelle Huppert
Silencio, May 18 | 5:08 P.M.
French actress Huppert stars
in Joachim Trier’s competition
title Louder Than Bombs as a
famed war photographer whose
husband and sons struggle
after her sudden death.
5/19/15 7:16 PM
1
From left The Sea of Trees’
Naomi Watts, Gus Van Sant
and Matthew McConaughey
L’Oreal Suite, Grand Hyatt Cannes
Hotel Martinez, May 16 | 8:10 P.M.
“The passive-aggressive side of
him that was such a monster took
me a while to understand. I had to
do some human nature research
on that,” says McConaughey of
Van Sant’s drama, which centers
on a man who travels to Japan’s
infamous “suicide forest” after
his wife (Watts) dies.
4
7
“I liked the idea of facing death to get
to life. It’s a brutal story, but in the end it’s
a love story.” McConaughey, on The Sea of Trees
20
5/19/15 7:17 PM
2
5
1 Simon Baker
Majestic Beach
May 14 | 10:00 A.M.
The star of The
Mentalist will make his
directorial debut with
Breath, an adaptation
of Tim Winton’s book.
“I grew up in a similar
kind of environment
and I really know
these characters quite
intimately,” he says of
the 2008 novel.
2 Diane Kruger
Albane Cleret Terrace,
JW Marriott Cannes
May 17 | 4:53 P.M.
The German actress
plays the wife of a rich
Lebanese businessman
in Disorder (Maryland),
Alice Winocour’s Un
Certain Regard drama.
3
6
3 Standing Tall’s
Rod Paradot and
Emmanuelle Bercot
Silencio
May 14 | 1:15 P.M.
French actress and
director Bercot helmed
the opening-night film,
which marked Paradot’s
acting debut. The
young actor received
strong praise for his
performance as a
troubled teen in the
coming-of-age drama.
4 Andie MacDowell
L’Oreal Suite, Grand Hyatt
Cannes Hotel Martinez
May 18 | 10:20 A.M.
The L’Oreal ambassador
will next be seen in
stripper sequel Magic
Mike XXL. “I love how
the film has women that
are not superskinny and
they look really hot and
sexy,” she says. “There’s
a lot of women out there
who are really going to
love that.”
5 Golshifteh
Farahani
CanalPlus Terrace
May 19 | 11:05 A.M.
The Paris-based Iranian
actress stars in the
Critics’ Week film Two
Friends, a romantic
dramedy that serves
as actor Louis Garrel’s
directorial debut.
6 Alicia Vikander
Scandinavian Terrace
May 17 | 1:54 P.M.
The Swedish actress is
enjoying a career boom
at the festival, where
she’ll celebrate the
documentary Ingrid
Bergman in Her Own
Words, which she
narrates. “In the 1930s,
she left Sweden and
took a boat for 31/2
weeks to continue her
career as an actress
in Hollywood,” she
says. “That’s such an
inspiration.”
7 The Anarchists’
Adele
Exarchopoulos
and Tahar Rahim
Palais des Festivals
May 15 | 10:00 A.M.
The Blue Is the Warmest
Color breakout
and The Prophet actor
(who’s also on this
year’s Un Certain
Regard jury) play lovers
in The Anarchists,
which premiered in
Critics’ Week.
5/19/15 7:17 PM
For exclusive videos with Matthew McConaughey, Naomi Watts, Diane Kruger, Cate Blanchett, Rooney Mara, Salma Hayek, Colin Farrell, John C. Reilly and more, go to THR.com and THR.com/iPad.
1 Matthias Schoenaerts
2 Claire Denis
Belgian actor Schoenaerts co-stars
with Kruger as a former French
Special Forces soldier hired to
protect a wealthy businessman’s
wife in Disorder (Maryland).
The French auteur spoke about her
career at one of THR and luxury group
Kering’s “Women in Motion” talks. “I
was not afraid that it was a man’s world,”
she said of her start in the industry.
JW Marriott Cannes
May 17 | 5:09 P.M.
Le Cinema du Monde Pavilion
May 15 | 2:50 P.M.
2
5
1
4
22
5/19/15 7:18 PM
“Tk Am de pe latusa
etur? Loriosa imus, simus arum fuga. Itatemquo eos resequias m
odit esserias vel inimpor
roriatet pratur?
Nametk Gosehre
3
6
7
From left The Lobster’s Rachel Weisz,
Ben Whishaw, Colin Farrell and John C. Reilly
Silencio, May 16 | 10:05 A.M.
Farrell made his first trip to the festival with The Lobster, in which he stars
as a slightly overweight man who has 45 days to find a mate or be turned
into an animal for the rest of his life. “It’s trying to say that human beings are
under a lot of pressure, and mostly from ourselves,” says Reilly, who plays
another single man looking for a partner in the surreal competition film.
3 Todd Haynes
Mouton Cadet Wine Bar,
Palais des Festivals
May 18 | 3:15 P.M.
“It was an interesting,
uptight, paranoid
time,” says Haynes
of the 1950s setting
of Carol, his drama
based on the novel
The Price of Salt by
Patricia Highsmith.
The helmer’s wellreceived film stars
Blanchett and
Mara as two women
who embark
on a love affair.
4 Courtney Eaton
Hotel Le Majestic
Cannes
May 15 | 3:55 P.M.
Australian Eaton
makes her acting
debut in George
Miller’s Mad Max:
Fury Road as one of
the wives, Cheedo the
Fragile. Of working
with star Charlize
Theron, she says:
“She’s incredible
to watch work. She
gives it her all every
single take.”
5 Catherine
Deneuve
Hotel Le Majestic
Cannes
May 13 | 6:00 P.M.
The French icon
(wearing a gold
Jaeger-LeCoultre
watch) researched
the French juvenile
court system to play
the judge in Standing
Tall. “These children
don’t talk much,” she
says. “They are locked
in themselves, they
know full well they
are in the margins.”
6 John Turturro
Silencio
May 17 | 12:45 P.M.
Turturro plays a
Hollywood bigwig
in Italian filmmaker
Nanni Moretti’s
competition
film Mia Madre. The
American actor says
his bad-boy character
was inspired by
real people in the
business.
7 Salma Hayek
Club Albane,
JW Marriott Cannes
May 15 | 12:00 P.M.
In Tale of Tales,
Hayek had to eat
the heart of a sea
monster, which she
said was made out
of a combination of
foods including pasta
and marshmallows
soaked in sugar: “The
amount of sugar
would make my teeth
hurt. The mixture
of the textures was
disgusting.”
thr cannes
photo and
video team
Stephanie Fischette,
Raphael Laski,
Christian Huguenot,
Nicolas Makowski,
Tess Gomet,
Pablo Teyssier-Verger,
Jose Cortez,
Vanni Bassetti,
Ugo Mahut,
Laurene Dusserre,
Kieran Rivalain
additional
reporting by
Scott Roxborough
5/19/15 7:18 PM
R E V I E WS
Sicario
Emily Blunt, Josh Brolin
and Benicio Del Toro star
in Denis Villeneuve’s
searing, superbly made
thriller about the interAmerican drug trade
T
by todd mccarthy
H E V IOL ENCE OF
the inter-American
drug trade has served
as the backdrop for
any number of films
for more than three decades,
but few have been as powerful
and superbly made as Sicario.
Drenched in many shades of
ambiguity as it dramatizes a
complex U.S.-led effort to take out
a major Mexican drug lord south
of the border, Denis Villeneuve’s
intensely physical new work is no
less disturbing than his previous
features Prisoners and Incendies
and should be able to generate
similar midlevel business as the
former due to its relatable lawman
(and law woman) elements.
An opening note explains that
“sicario” is cartel slang for hitman, derived from a term dating
to ancient Jerusalem describing
hunters of Romans. Loosely used,
it’s a word that could apply to
almost every character in this
tense tale, which is not difficult
to follow even if it demands that
close attention be paid. The script
by first-time screenwriter Taylor
Sheridan quickly establishes an
environment in which everyone is
capable of killing or being killed,
as well as a roster of characters
for whom the labels “good guy”
and “bad guy” are so relative as to
essentially become irrelevant.
Operating as the audience’s
surrogate is Kate Macy (Emily
Blunt), a first-rate FBI agent
specializing in kidnapping cases
who, with a SWAT team, discovers a “house of horrors” in which
dozens of rotting corpses wrapped
in plastic are hidden behind the
walls. The house is owned by
the Diaz family, a Sonora cartel
operating on both sides of the
U.S.-Mexican border. Kate kills
From left: Blunt,
Brolin and Del Toro
take on the cartels.
one bad dude herself during the
operation, which is considered so
successful that she’s paged to join
a secret black-ops American mission to lop off the Diaz clan’s head.
Working with the Mexicans
while knowing how compromised
many of their security forces are,
the Yank team welcomes its first
female member (her black partner, played by Daniel Kaluuya,
isn’t selected although he still
goes along for part of the ride).
But its leader, Matt (Josh Brolin),
explains as little as possible to
Kate about what’s going on as
they fly off in a private jet.
In a terrifically orchestrated
set piece, the Americans cross in
a huge caravan from El Paso to
Ciudad Juarez, navigate through
dicey neighborhoods in which
naked mutilated bodies hang
upside-down from an overpass,
extricate their prey from prison,
then get stuck in horrendous
traffic near the border crossing as
menacing tattooed guys with guns
materialize in a car nearby.
Villeneuve and cinematographer Roger Deakins worked
brilliantly together on Prisoners
while employing a very dark
palette of blacks, gray and deep
greens. Their collaboration here
is equally great in a story and
setting defined by parched desert
tones, cheap and impermanent
buildings and vast pale blue
skies. A preponderance of scenes
involves haves and have-nots of
information or situations in which
it’s unclear what the characters
are really up to. The blocking,
framing and use of lenses accentuate these disparities in ways that
expertly heighten the tension and
sense of uncertainty.
The character most often kept
in the dark about what’s going
D8_cannes_rev_sicario+insideout_G.indd 24
on is Kate. No naive greenhorn,
she’s already somewhat embittered (she’s divorced with no kids)
and has trouble sorting out the
chain of command. One of the big
wheels in the heavily militarized
operation is Alejandro (Benicio
Del Toro, underplaying to strong
effect), a native Colombian said
to have formerly been a prosecutor in Mexico, who warns her,
“Nothing will make sense to your
American ears.”
Blunt provides a penetrating
reading of a smart, resilient young
woman whose desire to help out is
no match for the deceptions and
frustrating barriers placed in her
way. Her performance is first-rate.
There is plenty of action here,
as well as some startling shocks
that come out of the blue, probably enough to sate audiences with
genre appetites. But this is not a
film in which a few heavily armed
24
5/19/15 12:40 PM
Inside Out
Pete Docter’s latest hits the Pixar sweet spot, playing as a captivating diversion
for kids and a smart, challenging entertainment for adults by todd mccarthy
A
gringos can just strut into Mexico
and take care of the problem
with a few blasts of their big guns;
Sicario very clearly makes its
point about how deeply the roots
of corruption and drug-related
contagion are embedded in the
soil of Mexico and the American
Southwest. And, via Alejandro, it
underlines how the problem has
moved north, from Colombia up
to Central America, Sonora and
the American border.
Technical contributions are
excellent all around, but special note must be made of the
brilliantly idiosyncratic and disturbing score by Icelandic
composer Johann Johannson.
In Competition
Cast Emily Blunt,
Benicio Del Toro, Josh Brolin
Director Denis Villeneuve
121 minutes
’60S AVA N T- GA R DE H E A D T R IP
Disgust, Fear and Anger completely take Riley
over. Although this journey through the psychic
repackaged as mainstream enterand emotional underworld could have been a lot
tainment, Inside Out ingeniously
more hellish and Bosch-like than it is, it will still
personifies the sensations associated
probably appear perilous enough to real kids
with early adolescence as a bunch of
younger than Riley.
emotionally competitive cartoon characters.
What the film charts, then, in its highly original
This latest conceptually out-there creation from
and disarmingly physicalized way, is the compePete Docter (Monsters, Inc., Up) serves up abstractition among the conflicting aspects of human
tions and flights of deconstructive fantasy that
probably will fly over the heads of younger viewers, nature. It’s an audacious concept, and Docter’s
imagination, along with those of his numerous
but this adventurous outing manages the great
collaborators, is adventurous and genially daft
Pixar trick of operating on two levels: captivating
enough to put it over.
fun for kids, disarming smarts for adults.
Amy Poehler’s energetic voicings as Joy domiAlthough the outward physical story of the
nate the dialogue, while the others blend in nicely
script by Docter, Meg LeFauve and Josh Cooley
without being too eccentric or sticking out. Bill
traces the difficult adjustment suffered by tomHader portrays Fear, Mindy Kaling is Disgust,
boyish 11-year-old hockey player Riley when she’s
Lewis Black is Anger and Phyllis Smith is the
uprooted by her parents from Minnesota to San
unassertive but undeniable Sadness. Among the
Francisco, the real setting is inside the girl’s head.
“real” characters, Kaitlyn Dias plays Riley, Diane
It’s a highly combustible place, a control room
Lane is Mom and Kyle MacLachlan is Dad.
staffed by the buoyant, blue-haired Joy; squat,
In a cheeky move on the part of the Bay Areatop-blowing Anger; purplish, equivocating Fear;
based Pixar, San Francisco is, for once, portrayed
green, eye-rolling Disgust and all-blue Sadness.
in a negative light (the family’s new home is
Docter and his team have visualized a hectic
located on a cramped, dingy downtown street). As
mind, in very antiseptic fashion, as a room centered on a control panel and lined with shelves and usual with the company’s fare, there are plenty of
blink-and-they’re-gone jokes, including the depictubes where little balls of memories and thoughts
are stored. Joy has always held sway in Riley’s here- tion of the part of the brain that creates dreams as
a movie studio.
tofore happy life, but now, faced with a new home,
In the end, Inside Out has to be one the most
an unfamiliar school, no friends and loss of her old
conceptually trippy films ever made as a PG-rated
hockey team, Sadness is in the ascendancy.
popcorn picture for the general public.
If this were a different kind of film, you could
imagine heading in the direction of William S.
Out of Competition
Burroughs and friends (although if there is a
Voice cast Amy Poehler, Bill Hader, Mindy Kaling
sequel, it might have to deal with the effect of
Director Pete Docter // 94 minutes
mind-altering substances on the brain). As it is,
Joy and Sadness do take a
trip down the rabbit hole of
Riley’s fraying psyche, which
leads into foreign territory as
far as mainstream animation
is concerned. Externally,
Riley is withdrawing from her
parents, rebelling against her
new surroundings, becoming sullen and, for the first
time in her life, genuinely
depressed, leading her to plot
running away from home.
What this looks like from
the inside is a turbulent,
decomposing landscape
traversed by an increasingly desperate Joy and her
ever-present companion
Inside Out’s characters include (from left) Fear, Joy and Disgust.
Sadness, whose exile has seen
D8_cannes_rev_sicario+insideout_G.indd 25
25
5/19/15 12:40 PM
Marguerite and Julien
Valerie Donzelli’s latest directorial effort casts her frequent muse, Jeremie Elkaim, opposite Anais Demoustier
in a patchily told story of two French siblings who fall passionately in love by boyd van hoeij
T
WO A R ISTOCR AT IC SIBL I NGS FA L L I N L OV E I N A N
undefined though clearly anachronistic past in Marguerite
and Julien, from actress-director Valerie Donzelli. This
is the filmmaker’s first movie in the Cannes competition,
though she did get a taste of the Croisette when her hit
Declaration of War opened the Critics’ Week in 2011. However, her
latest, an ambitiously mounted but wildly uneven story of incest told in
the form of a fairy tale — yes, really — has a snowball’s chance in hell of
being as rapturously received across the board. That said, the fact that
the film is (partly) based on a screenplay that Jean Gruault wrote for
Francois Truffaut in the 1970s will add interest for film buffs.
In reworking Gruault’s historical epic, Donzelli and her co-screenwriter and muse, Jeremie Elkaim, have turned the relationship (which
is said to have actually transpired in the 16th century) into something
of a fantasy romance — albeit one that happens to be an incestuous
romance. Rather daringly, the entire story is recounted to a group of
small children by a young woman (Esther Garrel) who works at an
orphanage. These scenes, though new additions to the screenplay, feel
the most Truffaut-like, bringing to mind the exploits of the pint-size
protagonist from The 400 Blows. However, it feels rather odd that neither the young woman nor the children seem to find the verboten aspect
of the love story they’re being told problematic in any way.
From the first scene, in which helicopters and sirens are heard, it’s
also clear there’s no attempt at historical accuracy, with cameras,
radios and people playing foosball popping up in a version of France
where the members of the aristocracy all live in fine castles and there’s
still a king (the last one was executed in 1793).
The film starts with the childhood of the siblings and includes what’s
certainly among the most exciting and complex things Donzelli’s ever
filmed: a chase on horseback involving the two children, suggestively
staged and beautifully shot in a combination of long shots and
medium close-ups by ace cinematographer Celine Bozon. Several
scenes later, when Julien comes back from years of schooling abroad,
he suddenly looks like Elkaim (who’s 36 in real life but here passes
for someone much younger), and Marguerite (Demoustier) can’t
believe her beloved brother is finally back. Their older sibling, Philippe
(Bastien Bouillon), barely gets a hello, but she’s all over her favorite
brother. Things turn from playful to erotic during a fancy dinner party
that their parents (Frederic Pierrot, Aurelia Petit) are throwing and
from which they escape to enjoy each other’s company — and bodies.
Julien finally seems scared of his own, overwhelmingly amorous
feelings for his sister, and this is where things get complicated for both
Marguerite and Donzelli. The female protagonist finds herself forced
to wed a much older suitor, Lefebvre (Raoul Fernandez), while Donzelli
can’t seem to figure out whether she wants audiences to root for the
pretty protagonists to be together or side with the parents, the slightly
creepy clergy and faceless society at large, who all want the opposite.
Things aren’t helped by the fact that the
Elkaim (left) and
film is almost entirely narrated as a story to
Demoustier play
children, further reducing the characters,
a brother and
sister in love.
who don’t have a lot of direct dialogue, to
two-dimensional beings. With a complex
subject such as this one, it might have
helped if people could explain their point
of view or feelings more clearly and more
often.
Ideally cast, Demoustier is having a
banner year as the French poster child
for free love in films such as The New
Girlfriend, in which a cross-dresser helps
her get in touch with her feminine side;
All About Them, in which she’s part of a
menage a trois; Caprice, in which she plays
a man’s mistress, and now this film. Here,
too, it’s hard not to fall in love with her.
Meanwhile, Elkaim has the more difficult
task as the more rational of the two, but
given the limitations of the writing, acquits
himself quite admirably.
The supporting cast is generally fine,
with Geraldine Chaplin chewing her
way through the castle-filled scenery
as Lefebvre’s malevolent mother, while
Donzelli and Elkaim’s own son, Gabriel
Elkaim, has a cute walk-on as a chimney
sweeper who helps Julien communicate with Marguerite.
The production design from Manu de Chauvigny, with its incongruous jumble of influences, is playful and inventive, if not something
everyone in the audience will warm to. Without a doubt, the standout
craft contribution comes from regular Donzelli collaborator Elisabeth
Mehu, who first dressed Elkhaim in his breakout role in 2000’s Come
Undone and whose costumes manage the feat of seeming both aristocratic and catwalk-ready.
In Competition
Cast Anais Demoustier, Jeremie Elkaim, Frederic Pierrot,
Aurelia Petit, Raoul Fernandez, Geraldine Chaplin
Director Valerie Donzelli // 108 minutes
D8_cannes_rev_marguerite_D.indd 26
26
5/19/15 2:43 PM
REVIEWS
Soldiers suffer a
mysterious
sleeping sickness
in the Thai film.
Cemetery of Splendor
Palme d’Or winner Apichatpong Weerasethakul’s latest is a dreamy, leisurely
experiment that will play best with his dedicated following by jordan mintzer
T
H E F I L MS OF A PICH AT PONG
Weerasethakul always toe the line
between dreams and waking life, so the
story of his latest enigmatic feature, Cemetery
of Splendor (Rak Ti Khon Kaen), may give
admirers of his work a strange sense of deja vu.
Set in and around a makeshift country
hospital accommodating soldiers plagued by
a mysterious sleeping sickness, this leisurely
paced, semi-experimental narrative features
some of the Thai auteur’s trademark surreal
beauty, though doesn’t necessarily pack the
same punch as movies like Syndromes and a
Century or Palme d’Or winner Uncle Boonmee
Who May Recall Past Lives. Screening conspicuously out of competition in the Un Certain
Regard sidebar, the Cannes premiere should
find takers among niche art house distributors
already familiar with the writer-director’s
distinctive oeuvre.
Mustang
Turkish director
Deniz Gamze Erguven’s
understated drama follows
five sisters who have their
freedom stripped from them
T
by david rooney
H E WOR D “M USTA NG,”
which is also the evocative
title of Turkish-French
filmmaker Deniz Gamze
Erguven’s stirring, quietly
powerful first feature, conjures
images of bands of wild horses
roaming the untamed American
West, their manes flying and their
defiant spirits resistant. Those
qualities also fit the five young
sisters in this intimate drama,
whose independence and burgeoning sexuality prompt their
alarmed guardians to sequester
the girls in a systematic campaign
to tame them into traditional
Clocking in at two hours and marked by
a pace that may prove frustrating for viewers hoping to latch on to a plot, the scenario
follows the travails of voluntary nurse Jen
(regular Jenjira Pongpas Widner) as she
tends to a bed-ridden narcoleptic, Itt (Banlop
Lomnoi), stricken with the same (tropical?)
malady as his permanently snoozing unit.
We never learn why Itt and the others
are fast asleep throughout most of the film,
though Jen manages to communicate with the
convalescent through the help of a psychic
medium, Keng (Jarinpattra Rueangram), who
helps family members speak with their sleeping sons. Past lives and ancient ancestors are
evoked through conversations that are both
cryptic and oddly matter-of-fact, in a work
that has the realistic vibe of a documentary
but the unearthly qualities of a reverie.
This is nothing new for Weerasethakul, who
female roles. The eloquent story’s
art house prospects will be helped
by its relevance in a world where
women in many places continue to
be repressed.
Unfolding in a village in northern Turkey, the film opens as
the orphaned sisters (played by
Gunes Sensoy, Ilayda Akdogan,
Elit Iscan, Tugba Sunguroglu and
Doga Doguslu) begin their summer break. Giddy with euphoria,
the girls walk home along the
beach, splashing about with some
male classmates.
But their energy turns to dismay as their strict grandmother
(Nihal Koldas) ushers them into
their house on a hill. Informed by
a villager who saw them cavorting
on the beach, she fears the girls’
virtue and their marriage prospects have been tarnished, her
hysteria fanned by the angry reaction of their Uncle Erol (Ayberk
Pekcan). Despite the sisters’
Un Certain Regard
Cast Jenjira Pongpas Widner, Banlop Lomnoi,
Jarinpattra Rueangram, Petcharat Chaiburi
Director Apichatpong Weerasethakul
121 minutes
Five sisters spend their summer vacation
on lockdown in this slyly feminist drama.
denial of any wrongdoing, verified
by medical examination, they are
locked up behind closed doors.
Erguven and her co-screenwriter Alice Winocour are
interested in the girls’ instinct for
self-preservation as they strike
back against their enforced captivity. What makes the transfixing,
naturalistically shot film so effective is that the director refuses to
D8_cannes_rev_cemetery+mustang_D.indd 27
in previous films has transformed men into
tigers and ignored narrative conventions as
much as possible, though there are moments
here that seem more drawn out than before.
As the movie progresses, the barriers
between the real world and the dream world
begin to dissipate, particularly during a
beautifully shot sequence where the changing neon lights by the soldiers’ bedsides start
popping up throughout the neighboring
city. Working for the first time with talented
cinematographer Diego Garcia (Without), the
director builds a naturalistic environment
haunted by signs of the netherworld, with a
color palette that oscillates between the greens
of the jungle and the blue-red glow that guides
the sleepers’ days and nights.
Subdued and carefree in its storytelling,
Cemetery does eventually provide some clues
about Jen and her dedication to soldiers, as
well as an underlying mystery involving the
hospital grounds, which apparently house the
remains of a fallen kingdom. But such details
feel mostly like communicating vessels for
Weerasethakul’s extremely Zen approach to
cinema, where the real and the intangible are
regarded as one and the same. It’s a vision that
can make his movies, and especially this one,
seem both inscrutable and strangely gratifying, and the experience of watching it is like
dreaming with your eyes wide open.
portray the girls simplistically, as
misunderstood angels, and she
has enough trust in her audience
to leave the drama’s implicit feminism unstated.
Directors’ Fortnight // Cast Gunes
Nezhe Sensoy, Doga Zeynep
Doguslu, Tugba Sunguroglu, Elit
Iscan, Ilayda Akdogan // Director
Deniz Gamze Erguven // 98 minutes
27
5/19/15 2:44 PM
REVIEWS
Mediterranea
Jonas Carpignano’s timely, politically charged first
feature puts a human face on the refugee smuggling crisis
T
by david rooney
H E SE DUCT I V E
promise of love, life and
happiness embedded in
songs by Rihanna and Taylor
Swift sounds hollow indeed when
heard in Jonas Carpignano’s
Mediterranea, an unvarnished
account of the uneasy welcome
that awaits African migrants who
undertake the perilous journey by
boat to Italy in search of better
opportunities. Expanded from the
American-Italian writer-director’s
2012 short film A Chjana, the
drama builds toward a visceral
depiction of the 2010 immigrant
riots in the Calabrian town of
Rosarno. Its timeliness and some
prominent industry names among
the producers should help draw
attention following Cannes.
Including the tragic capsizing of a vessel near the coast of
Libya in April, the death toll for
migrants attempting to cross the
Mediterranean to Europe this
year now exceeds 1,800. That
crisis has prompted an outcry for
increased EU intervention. But
statistics show that despite government promises to crack down
on traffickers, the number of people seeking passage on smuggler
boats continues to rise.
Carpignano’s film shows that
reality with an unblinking,
documentary-style gaze. We
witness the dehumanizing process
of migrants being herded like
cattle in trucks or on foot across
harsh desert terrain, exploited by
unscrupulous traffickers who keep
bumping up their fee and robbed
by violent bandits. The actual
sea voyage is a gripping sequence
that starts with the shocking
discovery that an inexperienced
volunteer is expected to pilot the
boat. A severe storm capsizes the
flimsy, overloaded vessel, but the
passengers find a semi-submerged
structure on which to wait out the
night until they are rescued by the
Italian coast guard.
The two central characters are
close friends from Burkina Faso,
Ayiva (Koudous Seihon) and Abas
(Alassane Sy), who are not fleeing
Seihon (left) and Sy search
for a better life in Italy.
horrors but merely seeking a
more economically viable future
in a place that will allow them to
support their families back home.
Ayiva and Abas both had preconceived ideas of life in Italy formed
by the enthusiastic Facebook
posts of Mades (Adam Gnegne),
another brother in their extended
family. But it’s immediately
apparent upon arrival that the
reality is quite different.
The racism and resentment
of much of the local youth
population is evident throughout, gradually darkening in a
crescendo of violence after two
Africans are killed. Carpignano
Land and Shade
Colombian director Cesar Acevedo’s formally arresting feature-length debut
about a family of farmers delivers more style than story by jordan mintzer
A
BE AU T I F U L LY CR A F T ED, L EISU R ELY
paced portrait of a Colombian family
holding on while the world is literally
engulfed in flames around them, Land and
Shade (La Tierra y la Sombra) clearly belongs
to what’s known as the “slow cinema” genre,
offering up intoxicating visuals but taking its
precious time in the storytelling department.
Written and directed by first-timer Cesar
Acevedo, this Cannes Critics’ Week premiere
should see additional festival play and theatrical bids in its various co-producing territories.
The narrative revolves around, Alfonso
(Haimer Leal), a man returning to the home
he left many years ago, where the rest of his
family has been trying to make a living farming the nearby fields. But with fires burning
every night to clear the land, Alfonso’s son,
Gerardo (Edison Raigosa), has developed a
deadly lung disease, leaving his wife (Marleyda
Soto) and mother (Hilda Ruiz) to do the difficult work in his place.
Capturing much of the action in a series of
well-choreographed sequence shots, Acevedo
and cinematographer Mateo Guzman provide
an array of roving, memorable images, including the opening scene (repeated later with
a slight variation) and one involving a horse
that’s straight out of an Andrei Tarkovksy
movie. Other sequences are a bit loaded
with symbolism, especially when Gerardo’s
condition worsens and shots of flying kites
and burning crops all too heavily evoke the
encroachment of death.
Leal returns home
to a farm and
family in crisis.
D8_cannes_rev_mediterranea+landshade_D.indd 28
lets the film drift a little in the
buildup to the clash, becoming
somewhat fragmented and rambling in the midsection. However,
the unselfconscious naturalness of
the nonpro cast yields no shortage
of sharply observed moments.
Carpignano has succeeded in
examining a complex meeting of
different cultures without any of
the self-important editorializing
of the Issues Drama.
Critics’ Week
Cast Koudous Seihon, Alassane Sy,
Adam Gnegne, Davide Schipilliti
Director Jonas Carpignano
110 minutes
It’s the kind of formally robust film where
the cinematography often dominates the
narrative, and where the characters often seem
like they’re just another aspect of the pictorial
compositions. Thus, a side plot involving a
workers’ strike in the sugarcane fields is only
given peripheral treatment, while minimal dialogue and lots of dead air make the time pass
extremely slowly in certain scenes — although
the passing of time seems to be one of the
themes at the heart of Acevedo’s project.
While Land and Shade sometimes evokes
the work of fellow South American director
Lisando Alonso (Jauja), it lacks the sense of
mystery found in the latter’s oeuvre, even if
it seems to be channeling a similar feeling of
rural abandon. Acevedo deserves credit for
crafting something so audacious — along with
the photography, the sound design by Felipe
Rayo also is boldly conceived — though there
are moments when the style really dominates
the subject matter in a film that’s a pleasure to
watch but not always one to follow.
Critics’ Week
Cast Haimer Leal, Hilda Ruiz, Edison Raigosa,
Marleyda Soto, Jose Felipe Cardernas
Director Cesar Acevedo // 105 minutes
28
5/19/15 7:35 PM
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REVIEWS
Les Cowboys
For his impressive directorial debut, French screenwriter
Thomas Bidegain casts Francois Damiens as a father searching
for his missing daughter by boyd van hoeij
T
Women on the
verge of failing
the Bechdel test
in Degrade.
Degrade
This film from brothers Arab and Tarzan Nasser
is a seriously unfunny comedy about 13 Palestinian
women trapped in a Gaza Strip beauty salon
A
by deborah young
WOU L D -BE M ETA PHOR IC COM EDY SET I N PA L E ST I N E’S
war-torn Gaza Strip turns into an unfunny free-for-all
in Degrade, a first feature written and directed by twin
brothers Tarzan and Arab Nasser. The film’s single set is an airless
beauty salon crowded with disgruntled femmes, who look like
they would have been more comfortable getting punchy around a
cowboy bar in the Wild West. As a small war goes on outside, they
continue to hurl catty insults at each other. What a fine actress like
Hiam Abbass is doing here is a mystery, but not as great a mystery
as how the film earned a slot in Cannes’ prestigious Critics’ Week.
The filmmakers seem to know little about what women do at the
hairdressers. This is another film that comes dangerously close to
failing the Bechdel test, even though there are 13 women locked in
a room who do nothing but talk to each other and on their cellphones. Their topic, or rather obsession, is only one: men. A young
innocent (Dina Shebar) is getting her hair and makeup done in
preparation for her wedding, with her mother, mother-in-law and
sister-in-law looking on. Another is nine months pregnant. The
beauty shop owner, a scowling Russian woman (Victoria Balitska),
is counting the minutes until she can go home to hubby, and her
surly young assistant (Maisa Abd Elhadi) spends the whole film in
tears or on the phone to her mobster boyfriend (Tarzan Nasser).
Comic relief is supposedly afforded by two ill-matched sistersin-law, one a batty addict (Manal Awad) and the other a poker-faced religious type (Mirna Sakhla) in a veil and big glasses.
Abbass’ character is an aging but vain, soon-to-be divorcee with
a sharp tongue, who launches into an unprovoked catfight with
Awad as the action peaks. Eric Devin’s lighting does no favors to
any of the actresses, or to viewers forced to stare at the cramped,
dark salon for over an hour.
H E H U N T FOR A F R ENCH
teenage girl who’s gone to
follow her possibly jihadist
boyfriend turns her family into
modern “searchers” in Cowboys
(Les Cowboys), the promising feature debut of celebrated French
screenwriter Thomas Bidegain.
Unlike the films he’s co-written
for Jacques Audiard (A Prophet,
Rust and Bone), this is a more
tightly constructed narrative,
though one with several surprises
up its sleeve. A cameo from John
C. Reilly both compensates for
some weaknesses in the film’s
second half and adds a potentially
marketable face to a Francophone
cast headlined by a superb
Francois Damiens. Festivals and
upscale art house distributors will
come along for the ride.
The narrative kicks off when
it’s discovered that Kelly (Iliana
Zabeth), the pretty teen daughter
of Alain (Damiens) and Nicole
(Agathe Dronne), and the older
sister of little “Kid” (Maxim
Driesen), has disappeared.
The screenplay, by Bidegain
and Noe Debre, stays in the
present, with bits of backstory
doled out as Alain starts a desperate search for his 16-year-old
child in what turns out to be
1994. The first half details the
efforts of the father, who ignores
his daughter’s letter asking her
family not to look for her. Part
two is set eight years later, when
the focus shifts to Kid (now played
Damiens is
a man on a
mission.
Directors’ Fortnight
Cast Francois Damiens,
Finnegan Oldfield, John C. Reilly,
Agathe Dronne, Ellora Torchia,
Antoine Chappey
Director Thomas Bidegain
114 minutes
Critics’ Week // Cast Hiam Abbass, Maisa Abd Elhaid,
Manal Awad, Mirna Sakhla, Dina Shuhaiber, Victoria Balitska
Directors Arab Nasser, Tarzan Nasser // 83 minutes
D8_cannes_rev_degrade+cowboys_E.indd 1
by Finnegan Oldfield), who ends
up in Pakistan to look for Aafia,
the new name of his now 24-yearold sister. It turns out that she
might have moved there with her
secret boyfriend, possible jihadist
Ahmed (Mounir Marghoum).
As the title suggests, something
of the Western genre infuses
the entire feature. The hunt for
a woman taken by the “enemy”
indeed recalls the basic plot of
John Ford’s classic The Searchers.
But Bidegain is smart enough to
simply play with codes rather than
slavishly follow them. Indeed, the
film’s main preoccupation seems
to be the complex East-West
divide of the world we live in today.
Damiens is better known for his
comic roles in the Francophone
world, but he’s slowly building a
reputation as a first-rate dramatic
actor as well. He’s exceptional
here, suggesting how the disappearance of his character’s
daughter is slowly eating away at
his sanity. Unfortunately, with
Damiens taking a backseat in
part two, the intensity of the film
subsides, as relative newcomer
Oldfield is too inscrutable a
performer to carry the film in the
same way — though thankfully
Reilly’s appearance provides
energy and some moments of
humor. The supporting cast is
generally strong.
Except for a late-in-the-proceedings confrontation involving
two men and a gun, which is
staged in decidedly unpersuasive
fashion, Bidegain’s mise-en-scene
is strongly suggestive. Arnaud
Potier’s widescreen images don’t
simply ape iconic Western images
but allow the French, Belgian
and Pakistani landscapes (shot
in India) to be themselves, while
Raphael’s musical score helps
sustain the drama and tension.
30
5/19/15 7:26 PM
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VENICE
INTERNATIONAL FILM FESTIVAL
September 2-1 2, 2015
TORONTO
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Januar y 21-31, 2016
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FESTIVAL
SCREENING
GUIDE
TODAY (MAY 20)
8:30Youth, Italy, 107 Min., Lumiere,
Pathe International (Fr), Competition
Mediterranea, Italy, 107 Min., Miramar,
NDM, Critics’ Week
9:00Arabian Nights Vol. 3, Portugal,
126 Min., Theatre Croisette, The Match
Factory, Directors’ Fortnight
11:00Alias Maria, Colombia,
92 Min., Bazin, UDI - Urban Distribution
International, Un Certain Regard
Madonna, Korea (South),
120 Min., Debussy, Finecut Co. Ltd.,
Un Certain Regard
11:30Much Loved, France, 108 Min.,
Arcades 1, Celluloid Dreams/
Nightmares, Directors’ Fortnight
Mountains May Depart, China, 135
Min., Lumiere, MK2 S.A., Competition
Krisha, USA, 83 Min., Miramar, Visit
Films, Critics’ Week
Sicario, USA, 121 Min., Salle du 60eme,
Lionsgate, Competition
Oka (Our House)
22:30Mustang, France, 94 Min.,
Arcades 1, Kinology, Directors’ Fortnight
24:15Love, France,
130 Min., Lumiere, Wild Bunch,
Out of Competition
95 Min., Miramar, Critics’ Week
16:30Les Yeux Brules, 58 Min.,
Bunuel, Festival de Cannes, Cannes
Classics
Lamb, Ethiopia, 105 Min., Debussy,
Films Distribution, Un Certain Regard
8:30Dheepan - L’Homme Qui
N’Aimait Plus la Guerre, France, 100
Min., Lumiere, Wild Bunch, Competition
Krisha, USA, 83 Min., Miramar,
Visit Films
17:00Masaan, India, 103 Min.,
Bazin, Pathe International (Fr),
Un Certain Regard
9:00The Here After, Poland,
101 Min., Theatre Croisette,
Trustnordisk, Directors’ Fortnight
11:00Cinefondation 2, 91 Min.,
Bunuel, Festival de Cannes
The Treasure, Romania,
89 Min., Debussy, Wild Bunch,
Un Certain Regard
Youth, Italy, 107 Min., Salle du 60eme,
18:00Krisha, USA, 83 Min., Miramar,
Visit Films, Critics’ Week
18:30Youth, Italy, 107 Min.,
Lumiere, Pathe International (Fr),
Competition
18:45Don’t Tell Me the Boy Was Mad,
France, 134 Min., Salle du 60eme,
MK2 S.A., Out of Competition
12:15Fatima, France, 79 Min., Theatre
Croisette, Pyramide International,
19:00This Is Orson Welles, 53 Min., Bunuel, Festival de Cannes,
Cannes Classics
14:00I Am a Soldier, France, 97 Min.,
Debussy, Le Pacte, Un Certain Regard
Marguerite and Julien, France,
105 Min., Salle du 60eme, Wild Bunch,
Competition
20:00Citizen Kane, 119 Min., Bunuel,
Festival de Cannes, Cannes Classics
Fatima, France, 79 Min., Theatre
Croisette, Pyramide International,
14:30Cinefondation 1, 8 2 Min.,
Bunuel, Festival de Cannes,
Peace to Us in Our Dreams,
Lithuania, 107 Min., Theatre Croisette,
NDM, Directors’ Fortnight
21:30Mountains May Depart,
China, 135 Min., Lumiere, MK2 S.A.,
Competition
15:00Taklub, Philippines,
97 Min., Bazin, Films Distribution,
Un Certain Regard
Youth, Italy, 107 Min., Lumiere, Pathe
International (Fr), Competition
Programme Courts Metrages 2, TOMORROW (MAY 21)
22:00I Am a Soldier, France,
97 Min., Debussy, Le Pacte,
Un Certain Regard
Visit Films, Critics’ Week
Peace to Us in Our Dreams, Lithuania,
107 Min., Theatre Croisette, NDM,
11:30Fatima, France, 79 Min.,
Arcades 1, Pyramide International,
The Assassin, China, 104 Min.,
Lumiere, Wild Bunch, Competition
Learn by Heart, France, 96 Min.,
Miramar, Gaumont, Critics’ Week
12:00A Perfect Day, Spain,
105 Min., Theatre Croisette, Westend
Films, Directors’ Fortnight
16:00Love, France, 130 Min.,
Salle du 60eme, Wild Bunch, Out
of Competition
16:30The Treasure, Romania,
Un Certain Regard
17:00Lamb, Ethiopia, 105 Min., Bazin,
Marius, 120 Min., Bunuel, Festival
de Cannes, Cannes Classics
19:00Dheepan - L’Homme
Qui N’Aimait Plus la Guerre,
France, 100 Min., Lumiere,
Wild Bunch, Competition
Ceremonie de Remise des Prix,
Miramar, Critics’ Week
19:15Oka (Our House), Mali,
96 Min., Salle du 60eme, Festival
de Cannes, Special Screening
19:30Depardieu Grandeur Nature,
60 Min., Bunuel, Festival de Cannes,
Cannes Classics
China, 135 Min., Salle du 60eme,
MK2 S.A., Competition
20:30Learn By Heart, France, 96 Min.,
Yakuza Apocalypse, Japan, 115
Min., Theatre Croisette, Nikkatsu
Corporation, Directors’ Fortnight
14:00The Other Side, France,
90 Min., Debussy, Doc & Film
21:00Visita ou Memorias e
Confissoes, Portugal, 68 Min.,
14:30Madonna, Korea (South),
120 Min., Bazin, Finecut Co. Ltd.,
Un Certain Regard
Cinefondation 3, 85 Min.,
Bunuel, Festival De Cannes
Dheepan - L’Homme Qui
N’Aimait Plus la Guerre,
22:00The Other Side, France,
D8_cannes_FESTIVALguide_C.indd 32
Programme Courts 1, 74 Min., Theatre Croisette,
22:30Songs My Brothers Taught Me,
USA, 94 Min., Arcades 1, Fortissimo
32
5/19/15 11:44 AM
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AM
MARKET
SCREENING
GUIDE
TODAY (MAY 20)
8:30Mediterranea, Italy, 107 Min.,
Miramar, NDM, Critics’ Week
9:30Kuldip Patwal: I Didn’t
Do It!, India, 135 Min., Palais I,
Rectangle Media Pvt. Ltd.
Oh No, Not Rudy Again!, Germany, 91
Min., Riviera 4, Macchiato Pictures
9:45Cemetery of Splendour,
Thailand, 122 Min., Arcades 2,
The Match Factory, Un Certain Regard
The Forbidden Note, United Kingdom,
100 Min., Palais G, Film Engine
10:00Mia Madre, Italy,
106 Min., Riviera 1, Films
Distribution, Competition
New Initiatives by Film Festivals, 110 Min., Palais K, Pavillon Next
T he Answer, India, 108 Min.,
Palais C, Euramco Pictures
Voz en Off, Chile, 96 Min.,
Gray 5, Habanero
A
lias Maria, Colombia, 92 Min.,
Bazin, UDI - Urban Distribution
120 Min., Debussy, Finecut Co. Ltd.,
Un Certain Regard
Lerins 1, Pyramide International,
Griffith Film School 2015 Showcase,
USA, 110 Min., Palais F, Short Film
Corner
K
risha, USA, 83 Min., Miramar,
Visit Films
Manina, La Fille Sans Voiles,
France, 86 Min., Palais B, Wide
Mountains May Depart, China, 135
Distribution Network GmbH
14:00Dream Driven, Finland, 102 Min.,
Gray 5, Black Lion Pictures Ltd.
I Am a Soldier, France, 97 Min.,
Kikoriki : Legend of the
Golden Dragon, 12 Min., Riviera 3,
Riki Productions Center
Marguerite and Julien,
France, 105 Min., Salle du 60eme,
Son of Saul, Hungary, 107 Min., Riviera
1, Films Distribution, Competition
The Answer, India, 108 Min., Palais C,
Euramco Pictures
Min., Lumiere, MK2 S.A., Competition
Much Loved, France, 108 Min.,
Arcades 1, Celluloid Dreams/
Nightmares, Directors’ Fortnight
My Big Fat Bride, India, 111 Min.,
Palais H, Yash Raj Films
Petting Zoo, Germany, 95 Min.,
Riviera 4, The Match Factory
Sicario, USA, 121 Min., Salle du
60eme, Lionsgate, Competition
Wicked Flying Monkeys 3D, Mexico,
80 Min., Palais J, Filmsharks Int’l
12:00Guadalajara Iff Goes
to Cannes, Mexico, 110 Min.,
Palais K, Festival Internacional
de Cine en Guadalajara
Heaven Knows What, USA,
85 Min., Gray 5, Stray Dogs
Kikoriki: Legend of the
L’esprit de l’Escalier, Israel, 105 Min.,
Palais I, EZ Films, Out of Competition
Submarine Confidential
Screening, USA, 90 Min., Gray 3,
Submarine Entertainment
T aklub, Philippines, 97 Min., Riviera 1,
The Sweet Escape, France,
105 Min., Star 2, Wild Bunch
Theatre Croisette, Pyramide
International, Directors’ Fortnight
13:30Best of the 48 Hour
Film Project, USA, 110 Min., Palais J,
48 Hour Film Project, Inc.
C
reative Mind Shorts, USA, 110 Min.,
Palais F, Short Film Corner
Songs My Brothers Taught Me,
Vigilante - The Crossing,
Barbados, 106 Min., Palais H,
Step By Step Productions
W
e Monsters, Germany,
95 Min., Riviera 4, Pluto Film
Viaje, Costa Rica, 71 Min., Gray 3,
Figa Films
15:00Programme Courts Metrages 2
+ Q&A, 95 Min., Miramar, Critics’ Week
Taklub, Philippines, 97 Min., Bazin,
15:30DXM, Austria, 97 Min., Olympia 3,
Terra Mater Film Studios
I Am Another Woman, France,
73 Min., Palais F, Cinexport
L and and Shade, Colombia,
94 Min., Lerins 1, Pyramide
International, Critics’ Week
Piku, India, 115 Min., Palais H,
Yash Raj Films
Welcome to Leith, USA, 85 Min.,
Gray 4, Submarine Entertainment
16:00Kikoriki : Legend of the
Le Combat Ordinaire, France, 105
Min., Riviera 1, Films Distribution
L ive, Romania, 107 Min., Palais G,
Romanian Film Centre
Mediterranea, Italy, 107 Min.,
Palais I, NDM, Critics’ Week
Oloibiri, Nigeria, 106 Min., Lerins 2,
Rightangle Productions Ltd.
Sick, Croatia, 85 Min., Palais E,
Croatian Audiovisual Centre
T he Hunting of the Snark,
United Kingdom, 76 Min., Gray 5,
From The 3rd Story Productions
The Well, Argentina, 107 Min.,
Gray 3, Aporia Producciones S.A.
16:30Lamb, Ethiopia,
105 Min., Debussy, Films Distribution,
Un Certain Regard
D8_cannes_MARKETguide_C.indd 34
L es Yeux Brules, , 58 Min., Bunuel,
Festival de Cannes, Cannes Classics
17:00Masaan, India, 103 Min.,
Bazin, Pathe International (Fr),
Un Certain Regard
17:30Figli di Maam, Italy, 94 Min.,
Palais H, Bielle Re Srl
Girl From God’s Country, USA, 66 Min.,
Gray 4, Greta Joanne Entertainment
Historias del Canal, Panama, 106 Min.,
Palais D, Panama Film Commission
Rosenn, Belgium, 105 Min., Palais F,
Artisan Films
S
uddenly Komir, Italy, 82 Min.,
Lerins 1, Kess Film
18:00Krisha, USA, 83 Min.,
Miramar, Visit Films
As a Friend, Chopping Onions
Contrat, 6
0 Min., Gray 3, Good Post
To the Children the Beauty, Argentina,
68 Min., Gray 5, The Open Reel
Youtube Bazaar, Romania, 98 Min.,
Palais G, Romanian Film Centre
Sangnoksu, Korea (South), 119 Min.,
Palais K, Dodo Co. Ltd.
18:30Youth, Italy, 107 Min., Lumiere,
18:45Don’t Tell Me The Boy Was Mad,
France, 134 Min., Salle du 60eme, MK2
S.A., Out of Competition
19:00This Is Orson Welles, 53 Min., Bunuel, Festival de Cannes,
Cannes Classics
20:00Citizen Kane, USA, 119 Min.,
Bunuel, Festival de Cannes, Cannes
Classics
Fatima, France, 79 Min.,
Theatre Croisette, Pyramide
Raging Rose, France, 80 Min.,
Arcades 1, Alpha Violet
Raul, Chile, 72 Min., Gray 5,
The Open Reel
China, 135 Min., Lumiere, MK2 S.A.,
Competition
Visit Films
34
5/19/15 12:11 PM
T he Chosen Ones, Mexico, 105 Min.,
Palais I, IM Global, Un Certain Regard
The Other Side, France, 90 Min.,
Debussy, Doc & Film International,
Un Certain Regard
Palais K, Le Pacte, Un Certain Regard
The Sea of Trees, USA, 110 Min.,
Olympia 1, Bloom, Competition
Pathe International’s Masaan
22:30Mustang, France, 94 Min.,
Arcades 1, Kinology, Directors’ Fortnight
24:15Love, France,
130 Min., Lumiere, Wild Bunch,
Out of Competition
TOMORROW (MAY 21)
8:30Dheepan - L’Homme
Qui N’Aimait Plus la Guerre, France,
100 Min., Lumiere,
Visit Films
9:15A Day in Culiacan, Mexico,
10 Min., Gray 5, Te Toca Productions
9:30Carol, United Kingdom, 118 Min.,
Olympia 1, Hanway Films, Competition
Marguerite and Julien,
France, 105 Min., Olympia 2,
Our Little Sister, Japan, 128 Min.,
Palais K, Wild Bunch, Competition
10:00Amnesia, Switzerland,
90 Min., Riviera 3, Les Films du
Losange, Out of Competition
Beyond My Grandfather Allende,
Chile, 97 Min., Riviera 1, Doc & Film
First Growth, France, 90 Min.,
Riviera 4, SND - Groupe M6
I’m All Yours, France, 99 Min.,
Riviera 2, Indie Sales
Love, France, 130 Min., Star 2,
Wild Bunch, Out of Competition
Oloibiri, Nigeria, 106 Min., Palais G,
Rightangle Productions Ltd.
Son of Saul, Hungary, 107 Min., Palais I,
Films Distribution, Competition
The Shameless, Korea (South),
120 Min., Palais J, CJ E&M Corporation/
CJ Entertainment, Un Certain Regard
T he Treasure, Romania,
Un Certain Regard
Youth, Italy, 107 Min., Salle du 60eme,
11:30Don’t Tell Me the Boy Was Mad,
France, 134 Min., Olympia 2,
MK2 S.A., Out of Competition
Arcades 1, Pyramide International,
Learn by Heart, France, 96 Min.,
Savannah College, Art & Design, USA,
110 Min., Palais F, Short Film Corner
11:45Tale of Tales, Italy, 125 Min.,
Olympia 1, Hanway Films, Competition
12:00A Perfect Day, Spain,
105 Min., Theatre Croisette, Westend
Alias Maria, Colombia, 92 Min.,
Riviera 2, UDI - Urban Distribution
Riviera 4, Pyramide International,
Mia Madre, Italy, 106 Min., Palais K,
Films Distribution, Competition
Necktie Youth, Netherlands,
86 Min., Riviera 1, Premium Films
R
ams, Iceland, 93 Min., Palais I, New
Europe Film Sales, Un Certain Regard
The Brand New Testament,
Belgium, 113 Min., Riviera 3, Le Pacte,
13:00Macadam Stories, France,
102 Min., Palais J, TF1 International,
Out of Competition
China, 135 Min., Salle du 60eme,
MK2 S.A., Competition
Savannah College, Art & Design, USA,
110 Min., Palais F, Short Film Corner
Sunstroke, Russia, 180 Min., Star 3,
Wild Bunch
14:00A Tale of Love and Darkness,
Israel, 105 Min., Olympia 2, Voltage
Pictures, Out of Competition
14:30Cinefondation 3, , 85 Min.,
Dheepan - L’Homme Qui N’Aimait
Plus la Guerre,
120 Min., Bazin, Finecut Co. Ltd.,
Un Certain Regard
Programme Courts 1, 74 Min., Theatre
Croisette, Directors’ Fortnight
15:00Oka (Our House), Mali, 96 Min.,
Palais J, Festival de Cannes, Out of
Competition
A Love You, France, 90 Min.,
Riviera 3, Europacorp
Film Kteer Kbeer, Lebanon, 100 Min.,
Palais H, Fondation Liban Cinema
L ouder Than Bombs, Norway,
103 Min., Riviera 4, Memento Films
International (MFI), Competition
Musical Chairs, France,
82 Min., Riviera 1, BAC Films
Paulina, Argentina, 103 Min.,
Riviera 2, Versatile, Critics’ Week
16:00Love, France, 130 Min.,
Salle du 60eme, Wild Bunch,
Out of Competition
Sicario, USA, 121 Min., Olympia 2,
Lionsgate, Competition
16:15Disorder, France, 100 Min.,
Palais I, Indie Sales, Un Certain Regard
Journey to the Shore,
Japan, 128 Min., Palais K, MK2 S.A.,
Un Certain Regard
16:30Amnesia, Switzerland,
90 Min., Olympia 1, Les Films du
Losange, Out of Competition
The Treasure, Romania,
Un Certain Regard
17:00Lamb, Ethiopia,
105 Min., Bazin, Films Distribution,
Un Certain Regard
Marius, 120 Min., Bunuel, Festival
The High Sun, Croatia, 118 Min.,
Palais J, Cercamon, Un Certain Regard
17:30Cosmos, France, 103 Min.,
D8_cannes_MARKETguide_C.indd 35
Riviera 1, Alfama Films
M
acadam Stories, France,
102 Min., Riviera 3, TF1 International,
Out of Competition
Mountains May Depart, China,
135 Min., Riviera 4, MK2 S.A.,
Competition
Nasty Baby, USA, 100 Min.,
Riviera 2, Versatile
R
ough-Cuts: Films to Become,
Lebanon, 60 Min., Palais H,
Fondation Liban Cinema
Suddenly Komir, Italy, 82 Min.,
Lerins 1, Kess Film
18:15Office, Korea (South),
108 Min., Palais I, 9Ers Entertainment,
Out of Competition
Youth, Italy, 107 Min., Olympia 2,
18:30Love, France, 130 Min., Olympia 1,
Wild Bunch, Out of Competition
19:00Ceremonie de Remise des Prix,
Miramar, Critics’ Week
Dheepan - L’Homme Qui N’Aimait
Plus la Guerre, France, 100 Min.,
19:15Oka (Our House), Mali, 96 Min.,
Salle du 60eme, Festival de Cannes,
Out of Competition
19:30Depardieu Grandeur
Nature, 60 Min., Bunuel, Festival
20:00(Be)Longing, Portugal,
78 Min., Arcades 1, ACID
20:30Learn by Heart, France,
96 Min., Miramar, Gaumont,
Critics’ Week
Yakuza Apocalypse, Japan,
Nikkatsu Corporation, Directors’
Fortnight
21:00Visita ou Memorias e
Confissoes, Portugal, 68 Min.,
22:00The Assassin, China, 104 Min.,
The Other Side, France,
22:30Songs My Brothers Taught Me,
35
5/19/15 12:11 PM
8 Decades of The Hollywood Reporter
The most glamorous and memorable moments from a storied history
Van Sant and his To
Die For star Kidman in
Cannes in May 1995.
T
WO Y E A R S BEFOR E
Gus Van Sant made
household names out of
Ben Affleck and Matt
Damon with Good Will Hunting
(and nabbed nine Oscar nominations and two wins), he directed
1995’s To Die For, a black comedy
loosely based on the notorious
case of a New Hampshire woman
who had convinced her 15-year-old
student and lover to murder her
husband five years earlier.
Adapted from Joyce Maynard’s
book of the same name and with
a screenplay from Buck Henry
(The Graduate), the film centered
on Suzanne Stone Maretto, a
fame-hungry small-town weather
girl. In the novel, Suzanne says
she wants “that actress that just
got married to Tom Cruise in
real life” to play her in the movie
version of her story. She got her
wish when Van Sant cast a then28-year-old Nicole Kidman.
After Suzanne’s husband
(Matt Dillon) gets in the way of
her success, she convinces an
impressionable teen (Joaquin
Phoenix) and his friends to murder him. Little known at the time,
Phoenix was identified in most
reviews as “brother to the late
and lamented River.”
Illeana Douglas, who played
Dillon’s sister in the film, remembers Van Sant as a director who
was quiet, understated and confident in his vision. After filming an
emotionally exhausting scene at a
frozen lake, Van Sant told Douglas
they needed to reshoot because of
a lens issue and gave her time to
prepare, ignoring the executives
who wanted to move on. “I put my
Walkman on and skated around,
and I’m looking at producers
pointing at their watches and with
their heads in their hands, but
Gus was just unruffled,” Douglas
tells THR. Van Sant, who studied
painting at RISD in the 1970s, left
such an impression on her that
Douglas devoted an entire chapter
to him in her upcoming memoir, I
Blame Dennis Hopper (out Nov. 3).
After Douglas broke her thumb
D8_cannes_endpg_vansant_B.indd 36
36
while horsing around with Dillon,
Van Sant made it work. “There
was this big debate about if they
should show my cast,” she says.
“Gus was like, ‘It’s real! She’s
an ice skater! She fell while ice
skating.’ Later on, we did a scene
where I fainted and we decided
that’s where I broke my thumb.”
Twenty years after screening
To Die For out of competition at
Cannes, Van Sant, 62, who won
the Palme d’Or for Elephant in
2003, returned with The Sea of
Trees, which premiered May 17.
— ELIZABETH ISENBERG
AP PHOTO/LAURENT REBOURS
20 Years Ago, Gus Van Sant
Hit Cannes With To Die For
5/19/15 10:23 AM
OPEN TO STRATEGIC ALLIANCES
Stand 21.10 Palais level 1
Paranormal Horror
Paranormal Horror
Paranormal Horror
Character-driven Psychological Thriller
Tara Reid
Paz de la Huerta
Mischa Barton
Ana Coto
-
Natasha
Henstridge
Rachel
Leigh Cook
Sci-Fi
REBEL MOVIES Rebel Stand 21.10 Palais level 1
Spain: +34 625608654 Usa: 1 323 3263815 / [email protected] - www.rebelmovies.eu
Rebel_D7.indd 1
5/18/15 8:54 AM
Sigurður Sigurjónsson
Theodór júlíusson
a film by Grímur Hákonarson
FESTIVAL SCREENINGS:
SAT MAY 16
4:00 PM
MARCHÉ DU FILM SCREENINGS:
BAZIN
SAT MAY 16
TUE MAY 19
THU MAY 21
12:00 NOON
2:00 PM
12:00 NOON
OLYMPIA 1
PALAIS K
PALAIS I
New Europe Film Sales team in Cannes: Jan Naszewski, Katarzyna Siniarska
Cannes office: Grand Hotel, 9th floor, Polish Cinema Terrace
Book a meeting on [email protected], +48 698 900 936
NETOP FILMS presents in co-production with PROFILE PICTURES & in association with FILM FARMS & AEROPLAN FILMS a GRÍMUR HÁKONARSON film RAMS
costume
starring SIGURÐUR SIGURJÓNSSON, THEODÓR JÚLÍUSSON, CHARLOTTE BØVING, GUNNAR JÓNSSON, SVEINN ÓLAFUR GUNNARSSON, ÞORLEIFUR EINARSSON & JÓN BENÓNÝSSON designMARGRÉT EINARSDÓTTIR & ÓLÖF BENEDIKTSDÓTTIR
make up
production
sound
music
director of
line
design BJARNI MASSI design HULDAR FREYR ARNARSON & BJÖRN VIKTORSSON by ATLI ÖRVARSSON editor KRISTJÁN LOÐMFJÖRÐ photography STURLA BRANDTH GRØVLEN producer EVA SIGURDARDOTTIR
design KRISTÍN JÚLLA KRISTJÁNSDÓTTIR
associate
executive
produced
written &
producer ATLI ÖRVARSSON, MAGNÚS SKARPHÉÐINSSON producers THOR SIGURJÓNSSON, ALAN R. MILLIGAN, TOM KJESETH, ELIZA OCZKOWSKA & KLAUDIA SMIEJA co-producers DITTE MILSTED & JACOB JAREK
by GRÍMAR JÓNSSON directed by GRÍMUR HÁKONARSON
New Europe Film Sales D4 051615.indd 1
5/12/15 3:31 PM

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