With the announcement of the Cannes Film Festival lineup coming in tomorrow morning, indieWIRE has updated our Cannes wish list with a few notes regarding films that have been all-but-confirmed for the Croisette. After what many a deemed a relatively lackluster lineup last year due to many would-be entries not being finished in time, this year looks like it could be quite the doozy.
Cannes alums and internationally celebrated filmmakers like Pedro Almodovar, C Jean-Pierre and Luc Dardenne, Bruno Dumont, Hirokazu Kore-eda, Terrence Malick, Brillante Mendoza, Lynne Ramsay, Paolo Sorrentino, Lars Von Trier and Gus Van Sant are among those potentially heading to the fest. But then again, you never know; Cannes is a sort of annual cinematic Olympics, with countless countries vying for spots in the official selection and last minute surprises an almost assured part of the lineup announcement (check with indieWIRE starting at 5:30AM EST for coverage of the lineup).
Woody Allen’s “Midnight in Paris” will open the fest, while Anne Thompson speculated on dozens of potential inclusions late last month. Rob Marshall’s “Pirates of the Caribbean: On Stranger Tides” has also been confirmed as screening out of competition.
indieWIRE‘s annual Cannes wish list isn’t so much about officially predicting the lineup, but rather is a roster of films we hope are finished in time, good enough and invited to the Croisette (though we do muse about what’s more likely than others).
Movies on this list that don’t get a spot in Cannes (and there will definitely be a few) will immediately become hot topics for a fall fest berth in Venice and/or Toronto. Either way, let the guessing games begin.
“Alps,” directed Giorgos Lanthimos (Greece)
With “Dogtooth,” Lanthimos established himself as one to watch. Now with his third feature, the cinephile crowd is pulling for “Alps” to make its debut in the south of France, where “Dogtooth” won the Un Certain Regard prize in 2009. In “Alps,” a group of people promise to stand-in for others’ dearly departed loved ones to help them with the grieving process. Lanthimos promises that “Alps” will be both “darker and funnier” than “Dogtooth”… a very intriguing promise indeed Reportedly a very safe bet. [Bryce J. Renninger]
“Les Bien-Aimes,” directed by Christophe Honoré (France)
And how could this not get in? Honoré’s latest, starring Ludivine Sagnier, Catherine Deneuve, Milos Forman, Louis Garrel and Chiara Mastroianni (Deneuve’s daughter) is a shoo-in, unless the planets are out of allignment come announcement day. Honoré has been absent from Cannes since his 2007 musical, “Love Songs,” and is sure to be back with this feature set in Paris and Prague. [Brian Brooks]
“Café de flore,” directed by Jean-Marc Vallée (Canada)
From the director of 2009’s “The Young Victoria” and 2005’s “C.R.A.Z.Y.,” Vallée’s latest stars young French actress Vanessa Paradis (“Heartbreaker”), Kevin Parent (T.V.’s “Charles in Charge”) and Hélène Florent (“In the Cities”) in a “love story between a man and woman.” Set in ’60s Paris, Paradis will apparently play a mother to a developmentally disabled child, with a parallel story set in present-day Montreal. “It’s an epic love story that deals with supernatural forces,” Vallee told Daily Variety about the film, which is listed on IMDb as currently in post-production. With a lineup of good-looking hotties from France that would illuminate Cannes’ famed red carpet and Vallée’s return to French and his recent successes, a place could very well be reserved for “Café.” [Brian Brooks]
“Chicken With Plums, directed by Vincent Paronnaud and Marjane Satrapi (France/Germany)
The duo behind “Persepolis” are tackling another one Satrapi graphic novel, this time in a live-action adaptation. “Chicken with Plums” will hope to have the same impact as their previous film, the animated “Persepolis” which won the Cannes Jury Prize in 2007. The story revolves around a depressed musician during the last week of his life/ Reportedly a very safe bet. [Daniel Loria]
“Code Blue,” directed by Urszula Antoniak (The Netherlands)
“Code Blue,” the second film from Urszula Antoniak, is poised to have a similar fate as the Dutch director’s last film. Her debut effort, 2009’s “Nothing Personal,” had a strong run in the festival circuit and received limited American distribution in late 2010. “Code Blue” tells the story of a middle-aged nurse whose alienation from society reaches a new peak after she and a neighbor both witness a rape together. Antoniak’s latest seems to be a meditation on intimacy and a sort of existential form of social alienation. The film’s greatest asset for consideration in the 2011 festival is its relationship with the Cannes Cinéfondation’s L’Atelier program, which fosters and promotes new works from emerging filmmaking talents. [Daniel Loria]
“A Dangerous Method,” directed by David Cronenberg (Canada/Germany)
In what looks to be one of Cannes favorite David Cronenberg’s most accessible efforts, “A Dangerous Method” details the turbulent relationships between psychiatrist Carl Jung, his mentor Sigmund Freud and Sabina Spielrein, the woman who comes between them. Adapted from John Kerr’s 1993 non-fiction book “A Most Dangerous Method” by “Atonement” screenwriter Christopher Hampton, the film stars frequent Cronenberg collaborator Viggo Mortensen as Freud, as well as Michael Fassbender (as Jung) and Keira Knightley (as Spielrein). The film is reportedly complete, so it seems like a safe bet for the main competition… unless Cronenberg and company decide to avoid what will certainly be a jam-packed lineup and premiere in the director’s native Toronto instead. [Peter Knegt]
A scene fromTerence Davies’s “The Deep Blue Sea.”
“The Deep Blue Sea,” directed by Terence Davies (UK)
The much-loved but barely seen “Of Time and the City” was the last film from British auteur Terence Davies. He’s returning to the screen with an adaptation of Terence Rattigan’s “The Deep Blue Sea,” the exploration of the relationship between wayward neighbors Mr. Miller, who was forced from his post as a doctor, and Hester Collyer, who is at once married to a High Court Judge and having an affair with a pilot in the Royal Air Force. The play was adapted in Hollywood in the 1950’s with Vivien Leigh in the lead role; Rachel Weisz takes the lead this time ’round. [Bryce J. Renninger]
“The Descendants,” directed by Alexander Payne (USA)
It’s been seven years since Alexander Payne’s critical darling “Sideways” became a huge crossover success story, grossing $70 million, getting nominated for best picture and significantly aiding the domestic wine market (unless you made Merlot). While that film premiered in Toronto, it seems likely his wrapped follow-up, “The Descendants,” will go way of the Croisette (as did Payne’s 2002 “About Schmidt”). Cannes loves them some George Clooney on the red carpet and that’s what they’d get with “Descendents,” which stars Clooney as Matt King, a land baron who tries to reconnect with his two daughters after his wife suffers a boating accident. Based on Kaui Hart Hemmings’s novel, the film also stars Judy Greer, Robert Forster, Beau Bridges and rising star Shailene Woodley (in what is said to be a very Oscar-bait role). However, distributor Fox Searchlight recently dated the film for a December release, which suggests that it may all of a sudden be out of Cannes’ reach. [Peter Knegt]
“Drive,” directed by Nicolas Winding Refn (USA)
This is not your typical Croisette fare, but buzz surrounding the Hollywood debut of Danish filmmaker Nicolas Winding Refn (“Bronson”) has been huge. Starring a can’t-be-hotter-right-now duo in Ryan Gosling and Carey Mulligan, the film follows a Hollywood stunt performer who moonlights as a wheelman, who discovers that a contract has been put on him after a heist gone wrong. Perhaps an out-of-competition berth is a possibility (which has been in post since November), though a Toronto debut is much more likely (its official release date is September 16th, conveniently the final Friday of TIFF). [Peter Knegt]
“Elena,” Andrei Zvyagintsev (Russia)
Zvyagintsev’s debut, 2003’s “The Return” won the Golden Lion in Venice and went on to be nominated for a Golden Globe. His follow-up, “Banishment,” went on to premiere in Cannes in 2007 where it nabbed an acting prize for its protagonist. The Russian director’s latest project revolves around an elderly woman who takes back her alcoholic son in an attempt to give his family a better life. The film was a recipient of the 2010 International Filmmaker Awards from Japanese TV station NHK and the Sundance Institute. [Daniel Loria]
“L’Empire,” directed by Bruno Dumont (France)
Dumont’s latest drama, in which a “miracle reveals an unseen side of a village loner,” currently near completion, is ripe for a place in the Official Selection. In the film, the villager helps those around him, but his methodology leaves much to be desired. Dumont won the Grand Prize of the Jury in Cannes for “Flanders” (2006) and the Camera d’Or for Humanité (1999), in addition to a Camera d’Or special mention in 1997 for “The Life of Jesus.” [Brian Brooks]
“The Exchange,” directed by Eran Kolirin (Israel)
The Israeli director’s debut film, “The Band’s Visit,” won the Un Certain Regard prize in Cannes back in 2007 and enjoyed an extensive run in the international festival circuit. With “The Exchange” the filmmaker seems to be going for a more introspective look at a quotidian existence, following a man who begins seeing the world around him under a different light. [Daniel Loria]
“The Grandmasters,” directed by Wong Kar Wai (Hong Kong)
In production since late 2009, one would think flashy Hong Kong auteur Wong Kar Wai whould be ready to debut “The Grandmasters,” a film that will star sinophone superstars Zhang Ziyi, Tonny Leung, and Chang Chen (though this report suggests otherwise). The film is the biopic of Ip Man, the man who mentored Bruce Lee. The life of Ip Man was subjected to two films already: Wilson Yip’s “Ip Man” and “Ip Man 2.” With anyone else at the helm, we’d have to question if another film needs to be made; but who could pass up any Wong film? [Bryce J. Renninger]
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A scene from Mia Hansen-Love’s “Goodbye First Love.”
“Goodbye First Love,” directed by Mia Hansen-Love (France)
Cannes last welcomed French filmmaker Mia Hansen-Love in 2009, when her touching drama “Father of My Children” nabbed the Special Jury Prize in Un Certain Regard. Her followup, “Goodbye First Love,” is slated for a summer release in France and will no doubt he ready to premiere in Cannes. “Goodbye” starts out in 1999 when 15-year-old Camille (Lola Creton) parts ways with her boyfriend when he takes off to South America for a year. The film tracks their rocky relationship over a 7-year period. [Nigel M. Smith]
“Le Havre,” directed by Aki Kaurismäki (Finland)
Written, produced and directed by Kaurismäki, his latest film rolled out in his native Finland this month. That could run afoul with the powers that be in Cannes, though presumably the veteran filmmaker — and his team — would not make such a transgression by mistake. If they intended it to be Croisette-bound, they were granted an official dispensation from the sin of World Premiere status. Kaurismäki won the Grand Jury prize and other nods for “The Man Without a Past” in 2002 in addition to screening in competition back in ’96 with “Drifting Clouds” and more recently in 2006 with “Lights in the Dusk.” Starring Jean-Pierre Léaud, André Wilms, Kati Outinen, Blondin Miguel and Elina Salo, the comedy-drama is the story of a shoe-shiner who tries to save a child in the northern French port of Le Havre. The film is the filmmaker’s second French-language effort after “La Vie de Bohème” (1992). Reportedly a very safe bet. [Brian Brooks]
“Haywire,” directed by Steven Soderbergh (USA)
The allegedly retiring Steven Soderbergh – who won the Palme d’Or with his directorial debut 22 years ago – has two films coming out in 2011, “Haywire” and “Contagion.” The former of which is in the can and definitely a possibility for Cannes (even if it might feel a bit too “minor” for the main competition). Starring a red carpet-friendly cast in Ewan McGregor, Michael Fassbender, Channing Tatum, Michael Douglas and Antonio Banderas, the film follows a black ops super soldier (newcomer Gina Carano, who could seriously break out from this) who seeks payback after she is betrayed and set up during a mission. Its set for theatrical release in August, so if the film’s going to premiere at a major fest, this would be the one. [Peter Knegt]
“I Wish” (Kiseki) directed by Hirokazu Kore-eda (Japan)
Nominated for the Cannes Palme d’Or for “Nobody Knows” in 2004 and also in competition back in 2001 with “Distance,” Hirokazu Kore-eda’s latest seems timed to Cannes. In the film, Koichi (Koki Maeda) winds up living with his mother and grandparents in Kagoshima after his parents’ divorce, while his brother Ryunosuke (Oshiro Maeda) goes to live with their father in the sounthern Japanese city of Fukuoka. The brothers dream of their family being reunited one day, so they’re both very excited when the Kyushu Shinkansen (bullet train) is completed, especially when they hear that a miracle will occur when the first trains meet (plot details from Nippon Cinema). Gaga Communications will release “I Wish” in Japan June 11. [Brian Brooks]
“The Kid With The Bike,” Jean-Pierre and Luc Dardenne (France)
When the Dardenne Brothers make a new film, it premieres at Cannes. This has been the case since the Belgian filmmaking duo’s “Rosetta” won their first of two Palme d’Ors in 1999 (their second came with “L’Enfant” in 2005, putting them in an elite club of only six filmmakers to have won it more than once). So it would be very surprising if their latest film, “The Kid With The Bike” (Le Gamin au vélo), is not among those in the festival’s main competition. Starring Cécile de France and Dardennes regular Jérémie Renier (“La Promesse,” “L’Enfant”), it tells the story of 11-year-old boy who turns to a young woman after his father has abandoned him. Reportedly a very safe bet. [Peter Knegt]
Lou Ye’s “Love & Bruises.”
“Love & Bruises, directed by Lou Ye (China/France)
Formerly titled “Bitch,” Lou Ye’s (“Summer Palace”) latest pits new French star Tahar Rahim (“A Prophet”) against Corinne Yam in a Paris-set drama based on Jie Liu Falin’s China-banned biography. Yam stars as Hula, a young teacher from Beijing, who lands in Paris and falls for Matthieu (Rahim). An abusive love affair ensues and Hula does everything in her power to leave him. Shooting took place in Paris and Beijing early last year, so a Cannes debut seems to be on the cards. Reportedly a very safe bet. [Nigel M. Smith]
“Loverboy,” directed by Catalin Mitylescu (Romania)
Although it appears Romanian director Catalin Mitylescu took a long break between his last directorial outing “The Way I Spent the End of the World” and his latest effort “Loverboy,” Mitylescu has kept busy writing and producing a number of projects, including “If I Want to Whistle, I Whistle.” The Cannes-winning filmmaker (his short “Traffic” won Best Short Film in 2004) workshopped “Loverboy” — a dark tale about a young man living in a small town near the Danube who seduces girls then passes them along to a human trafficking network in Constanta — at Cannes’ Atelier de la Cinefoundation in 2007, so a Cannes premiere seems a likely possibility. [Nigel M. Smith]
“Melancholia,” directed by Lars Von Trier (Denmark)
Expect Cannes staple and aerophobe Lars Von Trier to get in his caravan and head from his native Denmark down to the Croisette this May to premiere “Melancholia.” Two years after “Antichrist” was the talk of the festival, this “psychological disaster drama” will certainly be one of 2011’s most anticipated. Starring Kirsten Dunst, Kiefer Sutherland, Charlotte Rampling, Alexander Skarsgard and Charlotte Gainsbourg (returning to work with Von Trier after “Antichrist” — a feat in itself), the film begins with the destruction of Earth and then jumps back in time. Von Trier has said that he considers all of his previous films to end happily and that this will be the first with “an unhappy ending,” which bodes well for any masochistic fan of the filmmaker. Reportedly a very safe bet. [Peter Knegt]
“The Monk,” directed by Dominik Moll (France)
Dominik Moll finally returns to the director’s char with “The Monk,” six years after his last film, “Lemming,” debuted in Cannes with its starry French cast in tow. None other than Vincent Cassel toplines Moll’s latest effort, alongside an impressive cast that includes Geraldine Chapli, Sergi Lopez and Deborah Francois. “The Monk,” an adaptation of Matthew Gregory’s 1796 Gothic novel, centers on a well-respected monk in Spain (Cassel) who suffers an epic downfall at the hands of woman working for Satan. Filming wrapped last summer, so it should be ready in time for Cannes. [Nigel M. Smith]
“Prey,” directed by Brillante Mendoza (Philippines)
Mendoza shocked some with his last Cannes entry, “Kinatay,” which had a heavy dose of violence — though the film took the Best Director prize in 2009. In his latest starring Isabelle Huppert, Maria Isabel Lopez and Joel Torre, the film may likely be another action-packed thriller. “Prey” centers on one of the survivors of the Dos Palmas kidnapping in 2001 in Mindanao in the Philippines. Reportedly a very safe bet. [Brian Brooks]
“On The Road, directed by Walter Salles (USA)
Though it seems unlikely — a commenter on Thompson on Hollywood’s Cannes story said the film definitely wouldn’t be done — there has been some speculation that Walter Salles would ready his Jack Kerouac adaptation for the Croisette. It’s been in post-production since December, but that could still mean it won’t be ready until the fall festival circuit (or after). Whenever it rears its head, it’s sure to spark serious interest from fans of Kerouac’s iconic novel, particularly due to its substantial cast in Sam Riley, Kristen Stewart, Kirsten Dunst, Viggo Mortensen, Amy Adams, Garrett Hedlund and Steve Buscemi. For Salles’ sake, let’s just hope it ups the ante from his previous English-language effort, Jennifer Connelly horror flick “Dark Water.” [Peter Knegt]
“Restless,” directed by Gus Van Sant (USA)
We haven’t seen Van Sant’s work since his Oscar-winning Harvey Milk biopic, and his new film has an intriguing premise that makes us wonder how he’ll pull it off in typical Van Sant fashion. In “Restless,” a teenager (Henry Hopper) sees ghosts, visits funerals, and falls in love with a girl with a terminal disease (Mia Waskikowska). Together, the two teens develop a relationship with the ghost of a Japanese kamikaze pilot (Ryo Kase). The film is the first script from Jason Lew, who wrote the play on which the film is based. UPDATE: It is now reported that “Restless” is confirmed for the Un Certain Regard section [Bryce J. Renninger]
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A scene from Antonio Campos’ “Simon Killer.”
“Roman Polanski: Odd Man Out,” directed by Marina Zenovich (USA)
The case against Roman Polanski is nothing if not thorny. Following up on one of the most exhaustive interrogations of the not-so-cut-and-dry case, “Roman Polanski: Wanted and Desired,” Zenovich follows up on her subjects three years after the first film’s debut. “Odd Man Out” explores recent developments in the Polanski case as an extradition request is denied and Polanski becomes a free man once more. The film explores how the case has transformed the life of both Polanski and Samantha Geimer, the then-underage woman with whom Polanski had a sexual encounter in 1977. [Bryce J. Renninger]
“Simon Killer,” directed by Antonio Campos (USA)
After making a splash (and generating comparisons to Michael Haneke) with his film “Afterschool” at the 2008 installment of the Cannes Film Festival, Antonio Campos is back with two new films. The first of which, “Simon Killer,” looks likely for a Cannes debut. The film stars Brady Corbet and Mati Diop as a couple who develop a relationship in Paris less picturesque neighborhoods. If all goes well, this should be just what the world needs: An ominous take on anti-romance classic “Before Sunrise.” Reportedly a very safe bet. [Bryce J. Renninger]
“The Skin I Live In,” directed by Pedro Almodóvar (Spain)
There’s been recent whispers that the film won’t actually make a trip to the Croisette, but when was the last Almodóvar film to skip the Croisette? “The Skin I Live in” (“La piel que habito”) reunites the director with his “Matador,” “Law of Desire” and “Tie Me Up! Tie Me Down!” star Antonio Banderas some two decades later. Their reunion comes with an adaptation of Thierry Jonquet’s novel “Mygale”, detailing the story of a plastic surgeon (Banderas) on the hunt for the men who raped his daughter. Almodóvar describes the film as “a horror story without screams or frights” and like any one of his films, Pedro fans around the world are eagerly anticipate how that plays out. Even if it doesn’t head to Cannes, Venice isn’t too far off, which is where it would surely debut instead. UPDATE: While reports in early April suggested the film was a definite no-go, now insiders are suggesting “Skin” is in. [Peter Knegt]
“Skylab,” directed by Julie Delpy (France)
“Looking for Jimmy,” “2 Days in Paris,” “The Countess,” and now…”Skylab.” The notoriously in-control Julie Delpy is back in the director’s chair with a French comedy that uses the 1979 crashing of the fallen-out-of-orbit NASA space station Skylab to frame the story of an eccentric family. Delpy has written and stars with Noémie Lvovsky and Eric Elmosnino (“Gainsbourg,” “Father of My Children”) in what looks like a new tonal direction. Here’s hoping it’s completed and polished enough to make it onto this year’s lineup. [Bryce J. Renninger]
“The Snows of Kilimanjaro,” directed by Robert Guédigian (France)
Robert Guédigian’s films have had a constant presence in the festival circuit over his 30-year career and Cannes is no exception. In 2002 Guédigian’s “Marie-Jo and Her 2 Lovers” was nominated for the Palme d’Or. His latest film stars Ariane Ascaride and Jean-Pierre Darrousin as a married couple who suffers a vicious attack during a home invasion. [Daniel Loria]
“Take This Waltz,” directed by Sarah Polley (Canada)
Sarah Polley’s directorial follow-up to “Away From Her,” “Take This Waltz” is a romantic comedy that stars Michelle Williams as a woman torn between her loving husband (Seth Rogen) and a sexy new dude she meets during a “steamy Toronto summer” (Luke Kirby). The film finished shooting last fall and was selling at AFM. The fest is definitely a fan of Ms. Polley (she was on the jury a few years back), but “Waltz” might be a bit light for the fest. That said, the script (also written by Polley) made the Blacklist a few years back and is truly fantastic, so if it doesn’t win over critics (and buyers, as the film does not have a U.S. distributor) in Cannes, it surely will come September, where it will be a much more perfect fit for a Toronto premiere. [Peter Knegt]
“This Must Be The Place,” directed by Paolo Sorrentino (Italy)
Sean Penn and Frances McDormand star in this film about an aging rockstar who goes after the former Nazi who tormented his father. Paolo Sorrentino has had Cannes success in the past. A Palme D’Or nominee in 2004 for “The Consequences of Love,” his 2008 biopic on Italian politician Giulio Andreotti, “Il Divo,” won the Jury Prize that same year. Star power plus a former award winner equals a likely bet for Italy to be represented in France by the Napoli native. Reportedly a very safe bet. [Daniel Loria]
“Tinker, Tailor, Soldier, Sailor,” directed by Tomas Alfredsson (UK)
“Let the Right One In” director Tomas Alfredsson teams up with “The Queen” scribe Peter Morgan on an adaptation of John le Carré’s British Secret Intelligence Service spy story of the same name. It’ll be interesting to see how Alfredsson’s direction adapts to a piece whose premise differs so much from the creepy, quiet vampire flick that put him on the global cinema map. With Gary Oldman, Tom Hardy, and Colin Firth leading the cast, we suspect we’re in good hands… Though rumor has it the film won’t be ready until the fall. [Bryce J. Renninger]
“The Tree of Life,” directed by Terrence Malick (USA)
iW heard from somebody supposedly in the know that this film won’t be completed in time for Cannes, though other sources have the film listed as completed. But since this is both a list of predictions as well as our “Wish List,” it definitely makes the cut! Cannes most certainly would love this list of stars including Brad Pitt, Sean Penn and Jessica Chastain to sashay across its red carpet in a film that has already drawn a good amount of attention. According to a Fox Searchlight description, the film “is the impressionistic story of a Midwestern family in the 1950s. The film follows the life journey of the eldest son, Jack, through the innocence of childhood to his disillusioned adult years as he tries to reconcile a complicated relationship with his father (Pitt). Jack (played as an adult by Penn) finds himself a lost soul in the modern world, seeking answers to the origins and meaning of life while questioning the existence of faith.” Malick won Best Director in Cannes back in ’79 for “Days of Heaven.” UPDATE: Variety is now reporting that “The Tree of Life” is confirmed for Cannes. [Brian Brooks]
A scene from “The Tree of Life.”
“Unforgivable,” directed by André Téchiné (France)
Cannes veteran André Téchiné will hope to return to the festival where he won a Best Directing award in 1985 for “Rendez-vous.” He has had a successful streak at the French festival with six of his films being nominated for the Palm D’Or. Will “Unforgivable” finally win him the festival’s top honor? Starring Melanie Thierry, Carole Bouquet and Adre Dussollier, Téchiné’s latest follows a man in attempting to live his life after the death of his family in a tragic car accident. [Daniel Loria]
“W.E.,” directed by Madonna (UK)
There was a series of conflicting reports earlier this year as to whether Madonna would present her sophomore directorial effort — which stars Abbie Cornish and Oscar Isaac and follows parallel stories of the early 20th century love affair between Wallis Simpson and King Edward VIII and a modern romance — on the Croisette. French newspaper Le Parisien/Aujourd’hui said “W.E.” would indeed be heading for Cannes, while sales agency IM Global says the French report was incorrect. Madonna previewed the film for folks at the Berlinale, so who knows where the film is headed… But one thing’s for sure: The festival would clearly love the publicity Madge would bring along with her. [Peter Knegt]
“We Have a Pope,” directed by Nanni Moretti (Italy)
The iconic Michel Piccoli stars in Nanni Moretti’s latest film about a newly elected Pope who has a change of heart at the last minute. The veteran actor’s career includes collaborations with some of film history’s greatest talents like Buñuel, Godard and Hitchcock. Moretti’s own history at Cannes has also been noteworthy, having won the directing prize for “Caro Diario” (1993) and both the FIRPESCI and Palm D’Or for 2001’s “The Son’s Room.” Reportedly a very safe bet. [Daniel Loria]
“We Need To Talk About Kevin,” directed by Lynne Ramsay (UK)
Lynne Ramsay’s first film since 2002’s “Morvern Callar,” “We Need To Talk About Kevin” — based on the Orange Prize-winning 2003 novel by Lionel Shriver — stars Tilda Swinton as Eva Khatchadourian, a mother who recounts the events leading up to and following her son’s massacre of students and teachers at his high school. Described by producers as a “psychological thriller,” it should come as quite the anticipatory project for fans of Ramsay or Swinton’s work, or of the book itself. “Hold onto your hat,” Tilda Swinton told indieWIRE about the film earlier this year. “I think it’s going to be what the Americans might call a ‘doozy.’” Ramsay premiered both 1999’s “Ratcatcher” and 2002’s “Callar” at Cannes, which makes a good case for “Kevin” heading that way as well. Reportedly a very safe bet. [Peter Knegt]
“Where Do We Go Now?,” directed by Nadine Labaki (Lebanon)
Nadine Labaki, who made her name as an Arabic music video director, brought her debut feature “Caramel” to the 2007 Cannes Film Festival. The film, which skirts the issues of war in Beirut and focuses instead on the everyday life of five women, went onto become the world’s most widely distributed Lebanese release. Labaki’s new film tells the story of women living together in a community encircled by mines as they reject the religious divisions brought on by the war that set the standards for interpersonal relations on the national scene. Instead, the women manage to coexist, Christians and Muslims, and live together with humor. Odds are, she’ll return with this new take on her home country. [Bryce J. Renninger]
“Wuthering Heights,” directed by Andrea Arnold (UK)
A departure from her “Red Road” and “Fish Tank,” British director Andrea Arnold is likely to return to the Croisette for a third time (on just her third feature) with her Emily Brontë adaptatiion “Wuthering Heights.” Starring unknown actors Kaya Scodelario, James Howson and Oliver Milburn (Natalie Portman, Abbie Cornish and “Fish Tank”‘s Michael Fassbender were attached at various pre-Arnold incarnations of the project), the film concluded principal photography last November. With Arnold behind it, the film promises to put a unique spin on the gothic classic, and should provide the main competition with a definite touch of class. [Peter Knegt]
“Yellow Sea,” directed by Hong-jin Na (Korea)
Anticipation is high on Hong-jun Na’s followup to his hit debut “The Chaser,” which scored 5.1 million admissions in Korea and is being remade by Warner Bros. With a $10.7 million budget, “Yellow Sea” marks the first Korean film to receive direct investment from a Hollywood studio, in this case 20th Century Fox. The film follows an Korean (Ha Jeong-woo) living in China who travels to Korea for a contract killing and is hunted down by a rival assassin (Kim Yoon-seok). The film hit theaters in South Korea last December and will likely make its international debut at Cannes. [Nigel M. Smith]
[Editor’s Note: Information has been updated since this article’s original publication.]
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