Each day at the Cannes Film Festival (May 11 – 22), indieWIRE is publishing an updated compilation of articles from indieWIRE, our blog network and other outlets.
The Five Smartest Things Said at the Digital Distribution Panel: All this week, the American Pavilion in Cannes has been hosting a series of industry and talent conversations. On Friday afternoon, AmPav took on the always tidy subject of releasing a film in its panel, “Indie Film Innovators: Keeping Up with New Thinking in Distribution.” As usual, the statistics are grim. Few films are chosen for film festivals; even fewer are picked up for distribution, leaving many indie filmmakers to their own devices. So now what?
CANNES REVIEW | Jailed Iranian Filmmaker Mohammad Rasoulof Delivers An Indictment With “Goodbye”: With his fifth feature, “Goodbye,” jailed Iranian filmmaker Mohammad Rasoulof delivers a suspenseful and moving portrait of modern censorship in the country that has currently placed him in its governmental crosshairs. Along with fellow Iranian filmmaker Jafar Panahi, Rasoulof has been sentenced to six years for his speaking his mind. “Goodbye” doesn’t literally tell his story, but it clearly espouses his views, focusing on the intense experience of a young woman desperate to find her ticket to freedom and hitting wall after wall. More here.
“Return” Actress Linda Cardellini: “I didn’t think I grasped being on screen every second”: Linda Cardellini had her work cut out for her in her latest role as Kelli in Liza Johnson‘s subtly riveting “Return,” which premiered over the weekend in the Directors Fortnight at the Cannes Film Festival. She’s in virtually every scene.
As always, be sure to check out our Cannes Guide to All the Films for up-to-the-minute criticWIRE grades.
iW Blog Network
Yesterday morning, we brought you the critics’ reactions to the early morning screening of “The Tree of Life.” In the evening on the Croisette, Terrence Malick’s new film went over better than it did at its public screening. Anne Thompson reports.
The Playlist spent the day yesterday searching around the web for more reactions to the film and publishing a slew of new stills from it. See all their work here. This morning, they’ve got even more late reactions from more members of their team.
In case you weren’t aware there were other films screening at the fest, The Playlist also has a fresh review of Bruno Dumont’s “Hors Satan,” which Kevin Jagernauth calls “devilishly dull.”
Our new addition to the blog network, Shadow and Act, shows off clips from two Director’s Fortnight entries: Ruben Östlund’s “Play,” a film about a group of young robbers who have developed a new system of thievery that leaves no marks; and Gust Van den Berghe’s magical realist “Blue Bird.”
…And if you’re looking for some insight into how Anne Thompson decides what to see when she’s at a festival like Cannes, she’s provided her inner monologue, deciding between “The Artist” and a little flick at the Market called “Murder 101.”
Around the Web
After word struck the Twitterverse that some critics booed Malick’s new entry (one suspects the Village Voice’s J. Hoberman was surely one of the most vocal), Film School Reject’s Landon Palmer keeps things in perspective by reminding us of other Cannes debuts met with boos.
Melena Ryzik from the New York Times went to a Cannes gala and came back with this reportwith this report
Eugene Hernandez gave a progress report halfway into this year’s edition of the festival.
Stephanie Zacharek does the same for Movieline, giving her take on the festival thus far
The Guardian on how a young unknown actor has become a Cannes sensation
The LA Times’ The Envelope talks to Michel Hazanavicius about his new (yes, new) silent film, “The Artist”.