Yes, Cannes Matters. A Mid Fest Diary by Eugene Hernandez (May 18, 2009)
For two weeks, Cannes is the frontlines of international cinema. From here, many new films by established and emerging auteurs will make their way to festivals and movie theaters all around the world, via pacts and partnerships announced or forged here in France. What I’ve always loved about this fest is that people take cinema so seriously here. Movies ignite debates and stir arguements. Where else but in Cannes would moviegoers booing a film by a Danish art film director stir international media attention. Granted, “Antichrist” stars Willem Dafoe and Charlotte Gainsbourg, but the immediate attention drawn by the contentious debut over the new Lars Von Trier film reiterated to me why Cannes matters. It matters because cinema still matters. Industry insiders, film critics and festival programmers are constantly pondering the merits of both the art and industry, but from my vantage point, in a year where there is an apparent decline in attendance, the festival and market here in Cannes are still delivering on both fronts. In the case of the Von Trier film, it seems more marketable 24 hours after its first screening than many would have assumed in wake of the first screening on Sunday night. The catcalls from critics last night, followed by a spectacular press conference performance this afternoon, has generated an unquantifiable amount of attention for the movie. Moments after last night’s screening I began getting text messages asking me about the movie, friends saying they couldn’t wait to see it, given the stir it caused in Cannes. An indieWIRE Poll today agreed with that assessment. Throughout the day, Von Trier and “Antichrist” were the hot topic. And observers told me they couldn’t imagine the movie making it to the U.S. in the same version that screened here in Cannes. Sure it will. It can now ride into limited release with a base of awarenees. One buyer today emailed to say that he loved the movie. “I thought it was amazing,” the anonymous insider said, “Masterpiece. Hope it wins the Palme.” After its darkest moment, this year’s Cannes Festival took a turn. Like Hirokazu Kore-Eda “Air Doll,” Ang Lee’s “Taking Woodstock, and Hong Sang Soo’s ““Like You Know It All” here in Cannes, Ken Loach took a turn for the lighter side, following Von Trier in the Cannes competition with his crowd-pleasing “Looking for Eric.” This year’s fest seems to contain a number of filmmakers defying expectations by stepping out of their comfort zones.
|
iW’s Celebrates Black History Month
iW's shares with you films celebrating Black History Month.
Up In The Air
Now Playing Everywhere Tickets & Showtimes: www.TheUpInTheAirMovie.com Up In The Air has it all Remarkable Acting Vintage Directing Heartfelt Storytelling Unforgettable Entertainment Nominated for 6 Academy Awards Including Best Picture Become a fan: www.TheUpInTheAirMovie.com |
MY PICK, PUT YOUR MONEY ON ‘‘VINCERE’’ THAT’S ARE CHOICE, FOR THE MOVIE AUDIENCES!!
CANNES WILL ALWAYS, MATTER!!! WE NEED TO SEE THE LEVEL OF FILM QUALITY, RISE…TO THE OCCASION. I DIDN’T SEE THAT THIS YEAR. THE VON TRIER FILM, WAS CHEAP, BADLY WRITTEN/DIRECTED,, AND, NOT WORTH THE TIME, OF SUCH A GREAT ACTOR AS ‘‘DAFOE’’ TO LOWER HIMSELF TO THAT TRASHHEAP OF A FILM. IT’S A MONEY PIT, WON’T MAKE A DIME. NOT WORTH THE BUY!
I so envy you, Eugene. Two weeks of watching some of the best living filmmakers delivering new films. And, you’re so right—I so want to watch ‘Anti-Christ’ after all the furor it’s caused at Cannes.