Au revoir, Cannes. The 66th Annual Festival de Cannes has come and gone, but not without leaving an indelible impact on the industry. From the big winners to the unexpected disappointments, the early morning screenings in southern France were only part of the story. Deals were brokered left and right. Outlandish statements were tossed out to dozens of microphones, and Indiewire was there to cover it all. Take a look at our extensive festival coverage below, and tell us what your favorite part of Cannes 2013 was in the comments section. For all of Thompson on Hollywood’s coverage go HERE.
‘The Immigrant’ Director James Gray Tells His Cannes Critics To ‘Go F*** Themselves’ and Explains His Deeply Personal Connection to the Film
Indiewire talks to James Gray about what Eric Kohn labeled “the most divisive film in Cannes competition,” the Marion Cotillard-starring period drama “The Immigrant” was among one of the most anticipated and ultimately debated films to play at the recently wrapped festival.
Capping off this year’s Cannes competition, Roman Polanski’s “Venus In Fur” brought sex, laughs, applause and a handful of enthusiastic bravos to the last weekend of the festival.
It was no surprise really that American filmmaker James Gray would be asked for his opinions on immigration policy during the Cannes press conference for his latest work “The Immigrant,” simply given that title. Still, his response was a solid one that shed a great deal of light on the defining reason he went down the period route (it’s set in 1921) for the first time with this film.
The Best Actress winner speaks to the press following the screening of James Gray’s “The Immigrant.”
With this year’s edition of the Cannes Film Festival in its winding down phase (it concludes on Sunday), it’s easy to forget there are still some heavy hitters left to screen in the Competition, one of which, Alexander Payne’s “Nebraska,” screened this morning for press before its gala later on.
Returning to Cannes following her international breakthrough performance in 2011’s awards juggernaut “The Artist,” directed by her husband Michel Hazanavicius, Oscar nominee Bérénice Bejo returned the Croisette this year with another film to sure to return her to the forefront of awards talk — Asghar Farhadi’s follow-up to his Oscar-winning “A Separation,” “The Past.”
Nicolas Winding Refn might have expressed disdain in 2011 for Lars von Trier’s infamous Nazi remarks at Cannes, but the fellow Danish auteur is no less a provocateur, as evidenced by his bleak, ultra-violent Palme d’Or contender “Only God Forgives.”
“She has no problem turning on the bitch switch,” said Nicolas Winding Refn of Kristin Scott Thomas, the scene-stealer from his new film.
Immediately following the screening of Steven Soderbergh’s final film (reportedly), press rushed to the film’s press conference where Soderbergh and co. talked about the making of the film. Here are the highlights.
The two stars talk to Indiewire about the experience of premiering 1970’s-set crime love story “Ain’t Them Bodies Saints” on the Croisette.
Robin Wright discusses her fruitful career and her last role playing, well, herself in Ari Folman’s “The Congress.”
Just over a month ago Jeremy Saulnier was in Cleveland shooting corporate videos. His latest feature film “Blue Ruin” just premiered at the Director’s Fortnight. Saulnier discusses the making of the movie as well as his experience on the Croisette.
Édouard Waintrop, artistic director of the Director’s Fortnight at Cannes, talks to Indiewire about how this year’s lineup was barely decided in time and the criteria they use for selecting films to be shown as part of the Fortnight.
Having already come out stateside before opening Cannes less than a week later, “The Great Gatsby” garnered a healthy box office but not very enthusiastic responses from critics. Director Baz Luhrmann and the cast discuss the film’s bold use of anachronistic music as well as the mixed reception.
Director Sofia Coppola discusses what inspired her to make the film , and Emma Watson discusses her career after “Harry Potter” and how watching ‘The Hills’ helped her prepare for role part of Nikki.
The directors and stars of the film talk about the humorous onset vibe, their love of folk music and their unique plans for the soundtrack release.
First time feature director Anthony Chen’s film gets picked up by Film Movement for an early 2014 theatrical run.
Abdellatif Kechiche’s “Blue Is The Warmest Color” (La Vie d’Adele) made history by becoming the first film centered on a same-sex relationship to win the Palme d’Or in the festival’s 66 year history. The film — about a lesbian romance between two French teenagers (Lea Seydoux and Adele Exarchopoulos) — received a lot of attention during the course of the fest.
Sundance Selects is acquiring U.S. rights to Japanese writer-director Kore-eda Hirokazu’s “Like Father, Like Son,” which took a jury prize at the 2013 Cannes Film Festival.
Abdellatif Kechiche’s coming of age drama “Blue is the Warmest Color” has won the coveted Palme d’Or at the 2013 Festival de Cannes.
Ryan Coogler’s acclaimed drama “Fruitvale Station,” which played in the Un Certain Regard section here at Cannes, has won the Prize of the Future at the festival. The film had its world premiere at Sundance earlier this year where it won both the Grand Jury Prize and the Audience Award.
The Un Certain Regard program of the 2013 Cannes Film Festival announced its awards this evening, with French-Cambodian director Rithy Panh’s “The Missing Picture” taking the top prize.
A day before its official premiere in Cannes, Jim Jarmusch’s “Only Lovers Left Alive” has been picked up by Sony Pictures Classics for U.S. Release.
The Cinéfondation and Short Films Jury announced the 2013 Cinéfondation Prizes in a ceremony held at the Buñuel Theater. The first prize went to Anahita Ghazvinizadeh, a student at the School of the Art Institute of Chicago, for her short film “Needle,” which follows a young girl who is going to get her ears pierced.
Ahead of its world premiere in the Director’s Fortnight at Cannes today, Well Go USA has acquired all North American rights to “On The Job.”
Guillaume Gallienne’s “Me Myself and Mum” won the two top prizes at the 45th Directors’ Fortnight, earning both the Art Cinema Award and the Society of Dramatic Authors and Composers’ Prize.
Sony Pictures Classics today acquired North American rights to “The Lunchbox,” winner of the Viewer’s Choice Award, Grand Rail d’Or, at the 2013 Cannes Critics’ Week.
Sundance Selects has acquired all North American rights to Clio Barnard’s “The Selfish Giant,” which premiered in the Directors’ Fortnight section of Cannes this past week.
Fabio Grassadonia and Antonio Piazza’s “Salvo” won the top prize at the Cannes Film Festival’s 52nd Critics’ Week. The film — about a romantic relationship between a hitman and the sister of someone he’s murdered — took both the Grand Prix and the France 4 Revelation Prize.
Sundance Selects has acquired U.S. rights to Francois Ozon’s Cannes Film Festival competition title ‘Young & Beautiful.”
Guillaume Canet’s Cannes thriller (and English language debut following “Tell No One” and “Little White Lies”) “Blood Thriller” has landed with Lionsgate. The studio will release it through its sister company Roadside Attractions.
Strand Releasing has acquired all North American rights to Alain Guiraudie’s “Stranger By the Lake,” which premiered at the Cannes Film Festival in Un Certain Regard.
RADiUS – TWC is on a roll at Cannes, announcing today that the company has acquired North American rights to Keanu Reeves’ directorial debut “Man of Tai Chai,” days after nabbing the Directors’ Fortnight thriller “Blue Ruin.“
Kino Lorber has acquired all US rights to Jia Zhangke’s “A Touch of Sin,” currently in competition at the Cannes Film Festival.
After their stellar showcase of pre-trailer footage at Cannes last year, The Weinstein Company left many unimpressed with its plethora of trailers already available to watch online. Their most high-profile exclusive, five minutes of footage from the upcoming Grace Kelly biopic “Grace of Monaco,” did little to build excitement or anticipation.
The pocketbooks are coming out in a big way for Fortnight entry “Blue Ruin,” with RADiUS-TWC announcing that it has acquired the rights to the thriller and will prepare it for a theatrical release in the Fall.
Go to page 3 for REVIEWS.
The romance that claimed the Palme d’Or is also a hit with critics.
“I know that it would be nice to have some drama,” Steven Spielberg said at the press conference with his fellow jurors at the Cannes Film Festival on Sunday. However, according to the jury’s esteemed president, nobody “bumped heads about the films were privileged to see here.”
The festival’s leanest section, Critics’ Week, programs first and second films from emerging directors. This year offered a strong panorama of titles by young filmmakers that were quite different from the films in Official Selection.
The first sex scene in “Blue Is the Warmest Color,” Abdellatif
Kechiche’s French coming-of-age drama about a young lesbian couple,
lasts longer than any other sequence in the movie. To dwell on its
length, however, shortchanges its relevance to this three-hour-long
The first project that the filmmaker didn’t write himself, “Nebraska”
lacks the vulgar edge typically at the center of his scenarios. It’s a
sad, thoughtful depiction of midwestern eccentrics regretting the past
and growing bored of the present, ideas that Payne regards with gentle
humor and pathos but also something of a shrug.
Unfortunately, by re-teaming with Refn for the far less inventive genre
exercise “Only God Forgives,” Gosling has tumbled into the exact
trappings that “Drive” smartly assailed.
Gray’s fifth directorial effort is a conflicting experience admirable
and powerfully executed in parts, cold and meandering in others.
The actors are generally surprisingly solid, with one conspicuous
exception: Franco himself, who might have been too busy on set to
concentrate on his work as an actor and/or to direct himself properly.
While simplistic to describe, however, the movie is an impressively
realized work of minimalist storytelling that foregrounds Redford’s
physicality more than any other role in his celebrated career. His
performance defines the movie to an almost shockingly experimental
its impressive visuals and a solid first act, ‘Last Days on Mars’
devolves into a stupid and uninspired zombie flick that ruin’s the
movie’s initial promise.
“Behind the Candelabra,” which premiered at Cannes today before heading
to HBO on Sunday, May 26th at 9pm, is Steven Soderbergh’s virtuoso swan
song to filmmaking (at least for now), his final feature before stopping
to focus on his painting.
his epic 1985 Holocaust documentary “Shoah,” filmmaker Claude Lanzmann
shows that he is still very much capable of mining engrossing material
about the atrocity, with his latest “The Last of the Unjust” covering
the Czech ghetto Therienstadt.
The movie has a lot less on its mind and makes no drastic attempts to
overreach. A straightforward tale of overcoming personal and
professional challenges with no fancy dressing, “Grigris” goes down easy
but offers nothing remotely fresh.
Despite a strong cast and shadowy mysteries that deepen the plot, “The
Bastards” creates the sour impression of a half-formed work.
Movies for families tend to embrace the value of sticking together.
However, movies about families — at least those with a certain amount
of gall — assail that very same principle.
Coen Brothers surprised and impressed with “Inside Llewyn Davis,” their
1960’s-set tale of a fledgling folk musician thanks to a revelatory
performance by Oscar Isaac in the title role as well as a catchy score
by T. Bone Burnett.
cult director Alejandro Jodorowsky returns to the filmmaking scene
after over two decades without losing any of his brazenly surreal
Rarely screened around the world, “Weekend of a Champion” was praised by
racing enthusiasts but otherwise remained a near-mythological sidenote
to the more significant credits Polanski accrued during that major
period of his career.
on the heels of his Oscar-winning 2011 drama “A Separation,” “The Past”
sees Iranian director Asghar Farhadi leaving his native country for
France, while still maintaining his steadfast devotion to his
films explore overeager youth, both yielding interesting results: Sofia
Coppola’s depiction of teens robbing celebrity homes in the
real-life-inspired “The Bling Ring,” and Francois Ozon’s “Young and
Beautiful,” which portrays a young girl who becomes a prostitute online.
A jumbled semiotics class on acid, the 3D anthology film “3X3D” is the
second omnibus project produced by the European Capital of Culture
(following last year’s “Centro Historico”), but it stands alone as a
uniquely strange experience.
If the fashionable bloodsuckers of the “Twilight” movies traded their
frantic stares for expressions of ennui, they might have something in
common with Adam (Tom Hiddleston) and Eve (Tilda Swinton), the retro
cool vampires at the heart of Jim Jarmusch’s “Only Lovers Left Alive.”
It was a big year for American films in competition at the Cannes Film
Festival, but in the neighboring Un Certain Regard section, they came
and went with a whimper. Perhaps that’s because they simply played it
too safe in a section filled with daring creativity. Literally
translated as “Of a Certain Regard,” this spillover section carries the
whiff of snobbery (“it’s good, but not good enough for competition”),
but also makes room for a broader spectrum of international cinema than
the 20 competition slots provide. The American cinema in Un Certain
Regard suffered by comparison to far more adventurous titles.