The 62nd Cannes Film Festival came to a close yesterday with an awards ceremony that saw Michael Haneke winning his first Palme D’or for his latest, “The White Ribbon.” The program concluded 12 days of extensive coverage of Cannes ’09 here at indieWIRE.
This year’s crop of films brought out some big names, which built up anticipation for this year’s festival among critics, programmers, and of course, buyers. Particularly after an off American Film Market (AFM) last fall and then a quieter Berlin International Film Festival & the European Film Market in February. So, Cannes arrived with new work from Almodovar, Von Trier, Haneke, Audiard, Bellocchio, Tarantino, Noe, Coixet, Lee, Tsai, Campion and more, not to mention Francis Ford Coppola who apparently decided to forgo the Official Selection because he was offered a non-competition slot, opening his latest, “Tetro,” in the Directors Fortnight section.
With all the big names this year – and maybe a reasonably unattainable hope that warm weather, champagne and the reliably tacky glam of the Croisette may provide a temporary stay from the doldrums of the world economy right now – Cannes ’09 had a lot to live up to. It may have not been the “blockbuster blow-out” some had anticipated. But generally, the word was it was a success… And for what it’s worth, indieWIRE most definitely believes Cannes Matters.
We invite you to peruse iW’s coverage of this year’s reviews, news, photos and features that was Cannes 2009 (and of course feedback is always respected and loved – well mostly):
The Awards
“My Mother” Kills At Fortnight Awards
“Dogtooth” Wins Top Cannes Un Certain Regard Prize
In Cannes, Haneke Wins Palme d’Or for “White Ribbon”
Cannes Winners ‘09: On Stage and Backstage on Closing Night
The Dispatches
12 Films to Watch from Cannes ’09
Does Cannes Matter?
Pixar’s “Up” Stirs Cannes Fest
The discovery of Cannes (so far)? Katie Jarvis.
A Chinese “Shortbus?” Sexy “Spring Fever” Could Stir Censors
Scorsese Saves The World (Cinema)
Jane Campion, Where Have You Been?
Picking a Fight with the Vatican? Park’s “Thirst” Oozes Blood
Cannes Hearts Ebert
Ang Lee: “I hate to be characterized”
Coppola: Auteur Aspiring to be an Amateur
Cannes Breakthrough: Introducing Tahar Rahim
Amenabar: Not anti-Christian, but Crusading Against Fundamentalism with “Agora”
10 Random Bits from Lee & Lynn on a Hangover Sunday
Von Trier: “I am the best film director in the world”
Yes, Cannes Matters. A Mid Fest Diary
A Retooled Sundance? Fest Heads Tease Changes
Bellocchio Exposes Mussolini’s Dirty Little Secret in “Vincere”
Tarantino: “I am God…”
Famous by Accident: Stephen Frears Talks Life and “Queen”
Gilliam: “It was people’s love for Heath that propelled this thing forward.”
Suleiman’s Palestinian Story, More Personal Than Political
Haneke: “It’s About The Roots of Evil”
Gaspar Noe: “To make a good melodrama you need sperm, blood and tears.”
The Ballyhooed, the Magical and All that Mutilation: Cannes ‘09 Winds Down
Audiard’s “Prophet” Hailed by Critics, Bloggers as Best of Cannes
The Competition Films
Abrazos Rotos, directed by Pedro Almodovar
Antichrist, directed by Lars Von Trier
Bright Star, directed by Jane Campion
Enter The Void, directed by Gasper Noe
Face, directed by Tsai Ming-liang
Fish Tank, directed by Andrea Arnold
Kinatay, directed by Brillante Mendoza
Les Herbes folles, directed by Alain Resnais
In The Beginning, directed by Xavier Giannoli
Inglorious Basterds, directed by Quentin Tarantino
Looking For Eric, directed by Ken Loach
Map of the Sounds of Tokyo, directed by Isabel Coixet
A Prophet, directed by Jacques Audiard
Spring Fever, directed by Lou Ye
Taking Woodstock, directed by Ang Lee
The Time That Remains, directed by Elia Suleiman
Thirst, directed by Park Chan Wook
Vengeance, directed by Johnny To
Vincere, directed by Marco Bellocchio
The White Ribbon, directed by Michael Haneke
The Reviews
Amenabar’s “Agora” Rings Hollow Despite Visual Shock and Awe
Off The Edge: The Primal Power of Von Trier’s “Antichrist”
Campion’s Prudish “Star” Needs More Sizzle
“Broken” Record: Almodovar’s Latest Repeats His Greatest Hits
Low on Luster, Gilliam’s “Imaginarium of Doctor Parnassus” Winds up a Sideshow
Falling Short of Tarantino’s Own High Bar, “Inglourious” Goes Bubblegum
Art-house Crowd Pleaser: Loach Lightens Up with “Looking for Eric”
Lingua Romania: “Police, Adjective” Makes for Arresting Tour-De-Force
“Prophet” Portends Success: Audiard’s Arty Mob Film
No Sense or Sensibility: Lee’s “Woodstock” Undercooked
Does It Take This Village? “White Ribbon” Ascends Art
In Favor of Imagery: Tsai’s “Visage” Paints a Puzzling, Pretty Picture
The Deals (so far)
IFC To Tell Mungiu’s “Tales”
Buyer Buzz: Berney Backs Campion’s Latest
Sony Classics Ties Haneke’s “Ribbon”
IFC Films Finds Loach’s “Eric”
Lord Have Mercy! Von Trier’s “Antichrist” Finds U.S. Home
Sony Classics Aims To Profit Off “Prophet”
The Photos
The Round Ups
ROUND UP: Cannes Pros & Cons, Big Deals, and Opening “Up”
ROUND UP II: “Fever,” “Fish,” and Francis Ford
ROUND UP III: Jane Returns, Ang Gets Burned, and “Thirst” Causes a Stir
ROUND UP IV: “A Prophet” Sets The Bar; “Antichrist” Goes Too Far?
ROUND UP V: Pedro on Pedro, “Vincere” Premieres, and Sundance in Cannes
ROUND UP VI: “Antichrist” In America; “Basterds,” “Folles” Find Mixed Reactions
ROUND UP VII: Sony Classics Showdown For The Palme d’Or?
ROUND UP VIII: “Dr. Parnassus” Descends, Noe Fills Avant-Garde “Void,” and “Time” Remains Contender
Check out indieWIRE’s New Guide to Film Festivals (listings will be updated throughout the year):
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