Variety has the early word on Cannes’ possible contenders. After another disappointing Berlin, it looks like Cannes will again have the creme de la creme of international cinema. I will be joining in the heated cinephile-fanboy excitement to see Lars von Trier’s “Antichrist,” which looks from its already buzzed-about trailer like a slick horror picture (see below)–but Von Trier, always the provocateur, will likely have some other agendas up his sleeve. Here are nine other titles that would complete my top most-anticipated ten list (all synopses are from Variety):
Andrea Arnold’s “Fish Tank,” the latest from the director of “Red Road” about a 15-year-old whose life is turned upside down by her mother’s new boyfriend.
Michael Haneke’s “The White Ribbon,” which examines fascism at a rural school in 1913.
Pedro Almodovar’s “Broken Embraces,” already reviewed after its Spanish opening, described as an ambitious combination of genres, though less resonant than previous gems.
Bong Joon-ho’s “Mother,” a thriller about a woman’s attempt to determine who framed her antisocial son for a ghastly murder.
Park Chan-wook’s “Thirst,” a vampire tale about a small-town priest transformed into a neck-biter.
Lou Ye’s “Spring Fever,” about a young threesome overcome with erotic longings.
Tsai Ming-liang’s “Face,” about a Taiwanese director arriving in Paris to make a film about Salome, starring Mathieu Amalric.
Hirokazu Kore-eda’s “Air Doll,” about the love affair between a videostore clerk and an inflatable sex doll.
Elia Suleiman’s “The Time That Remains,” the story of a Palestinian family from the ’40s to the present day.