Each day at the Cannes Film Festival (May 12 – 23), indieWIRE is publishing a frequently updated dispatch from France. All times listed are local French time.
Blogs: Anne Thompson | Todd McCarthy | Sydney Levine | Eric Kohn | Eugene Hernandez
10:39 PM: “Gods and Men” and SPC–Following its acquisition earlier this week of Mike Leigh’s Cannes Competition title “Another Year,” Sony Pictures Classics today announced they’ve taken all rights in the US and Australia/New Zealand for Xavier Beauvois’ “Of Gods and Men,” also screening in Competition on the Croisette. More here.
8:58 PM: IFC Takes Two More —IFC Films continued its dealmaking on the Croisette today, scooping up US rights to two more films: Gregg Araki’s “Kaboom,” screening out of competition in the official selection; and Jorge Michel Grau’s “We Are What We Are,” from the Director’s Fortnight. More here.
8:01 PM: “Limaces” Leads Fortnight Winners – Fabienne Berthaud’s “Pieds nus sur les limaces” (Lily Sometimes) topped the winners of the Director’s Fortnight section of the 2010 Cannes Film Festival. Get the full list of winners here.
5:58 PM: criticWIRE @ Cannes Update – A considerable update has been made to criticWIRE‘s first foray into the Cannes Film Festival. Seventeen critics have offered hundreds of grades for dozens of films, and our Cannes Guide has been updated to reflect it – with averages for all the films that have received grades.
As it stands, no film in competition has received an “A” level average. The three that seem to be the top contenders for the Palme d’Or (at least according to criticWIRE), each have “B+” averages: Apichatpong Weerasethakul’s “Uncle Boonmee Who Can Recall His Past Lives”, Abbas Kiarostami’s “The Certified Copy” and Mike Leigh’s “Another Year”.
Other films that have managed quite good scores include Olivier Assayas’s out-of-competition “Carlos”, Charles Ferguson’s special screening “Inside Jon”, and Un Certain Regard hopeful “Blue Valentine”.
Meanwhile, Alejandro Gonzales Innaritu’s “Biutiful” is the most divisive film screening at the fest (at least according to criticWIRE), and Hideo Nakata’s “Chatroom” has received the lowest grade average of any Cannes 2010 film. More here. [Peter Knegt]
5:15 PM: IFC Takes “Princess” Out of Cannes – Following pick-ups of “Carlos,” “Heartbeats” and “Prey,” IFC Films announced another Cannes acquisition as it nabbed the U.S. rights to director Bertrand Tavernier’s “The Princess of Montpensier.” More here.
5:12 PM: Cinéfondation Awards Student Films—Earlier today in Cannes, awards were announced for the student films in the Cinéfondation Selection at a ceremony at the Buñuel Theatre, decided by a jury led by Atom Egoyan. Read more here. [Basil Tsiokos]
4:37 PM: Three New Reviews From Eric Kohn – indieWIRE‘s Eric Kohn has three new critical offerings from Cannes up today: Reviews of Apichatpong Weerasethakul’s “Uncle Boonmee Who Can Recall His Past Lives; Ken Loach’s “Route Irish”; and Lodge Kerrigan’s “Rebecca H.”
3:41 PM: “Carlos” Star — Near the beginning of “Carlos,” the three-part movie about a reknowned international terrorist, Edgar Martinez (as the title character) stands naked in front of a full length mirror admiring himself. The sexy young terrorist is infatuated with his own image. After sizing himself up for a bit, he grabs his crotch before turning and walking away. [More at indieWIRE]
2:57 PM: “Sleepover” in Cannes — David Robert Mitchell made a tender and sweet coming-of-age story that has given the young writer/director some nice attention. His first feature, “The Myth of the American Sleepover”, had its world debut at the SXSW Film Festival in March where it received a special jury prize for Best Ensemble Cast, and has made its way to Cannes this week, screening in Critics Week. [More at indieWIRE]
2:22 PM: Europa Cinemas Label—“Le Quatro Volte,” from Italy’s Michelangelo Frammartino, has been recognized as the Best European Film in the Director’s Fortnight by the Europa Cinemas Label jury, made up of four exhibitors: South Korea’s Kwangmo Lee, Denmark’s Line Daugbjerg, Estonia’s Margit Vremmert, and Austria’s Claus Philipp. The Europa Cinemas Label has been awarded in Cannes for the past eight years, complementing similar Labels awarded to films in Berlin’s Panorama, Venice’s Giornate degli Autori, and Karlovy Vary.
As the Cannes winner, “Volte” will receive the theatrical and promotional support of the international exhibitors who are part of Europa Cinemas. Starring Giusepppe Fuda, Nazareno Timpano and Bruno Timpano, “Volte” follows a shepherd in the hills of Calabria as he faces his final days, contrasting them with the first days of a new goat kid among the animals he herds. International sales are being handled by the Coproduction Office. [Basil Tsiokos]
10:25 AM: Power Breakfast — The Carlton remains the hotel of choice for festival power brokers and dealmakers. Even though its late in the festival and a number of folks have headed out, there’s still meetings happening in Cannes. Established and emerging companies alike are still pounding the pavement for movies and buzz here in France.
On the hotel’s sunlit terrace for breakfast this Friday morning, Sony Pictures Classics Michael Barker settled in for a morning meeting (with indieWIRE), while nearby Efe Cakarel of upstart MUBI (formerly The Auteurs) caught up with the buffet, excited about his recently announced pact with Sony’s international arm. As breakfast continued, Harvey Weinstein (casually dressed in jeans and a t-shirt) held court with Bill Pohlad and a few others on the veranda.
Pohlad unexpectedly made news at the start of the fest with news that Bob Berney had left his post as head of Apparition, a company they launched a year ago here in France. Now, at the end of the week, Pohlad’s been talking about “Fair Game,” Doug Liman’s competition entry that Pohlad’s River Road Entertainment backed. [Eugene Hernandez]
9:45 AM: Critics Week winners — Janus Metz’s “Armadillo”, an Afghanistan war documentary from Denmark, topped Critics Week tonight in Cannes. The film won two awards as the section came to a close in France. [More at indieWIRE]