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Cannes Forecasting: A Sunny Cinema Lineup

Cannes Forecasting: A Sunny Cinema Lineup

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.

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