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Cannes Wrap-Up: All the Interviews, News and Reviews from Indiewire’s 2013 Festival Coverage

Cannes Wrap-Up: All the Interviews, News and Reviews from Indiewire's 2013 Festival Coverage

Au revoir, Cannes. The 66th Annual Festival de Cannes has come and gone, but not without leaving an indelible impact on the industry. From the big winners to the unexpected disappointments, the early morning screenings in southern France were only part of the story. Deals were brokered left and right. Outlandish statements were tossed out to dozens of microphones, and Indiewire was there to cover it all. Take a look at our extensive festival coverage below, and tell us what your favorite part of Cannes 2013 was in the comments section. For all of Thompson on Hollywood’s coverage go HERE.


‘Only God Forgives’ Composer Cliff Martinez on Reuniting With Nicolas Winding Refn and Why He Doesn’t Consider Himself a Cinephile

The long-time Steven Soderbergh collaborator speaks with Indiewire about his first trip to Cannes and his latest work.

‘The Immigrant’ Director James Gray Tells His Cannes Critics To ‘Go F*** Themselves’ and Explains His Deeply Personal Connection to the Film

Indiewire talks to James Gray about what Eric Kohn labeled “the most divisive film in Cannes competition,” the Marion Cotillard-starring period drama “The Immigrant” was among one of the most anticipated and ultimately debated films to play at the recently wrapped festival. 

‘Venus in Fur’ Director Roman Polanski at Cannes: ‘I’ve lived long enough to know I can direct.’

Capping off this year’s Cannes competition, Roman Polanski’s “Venus In Fur” brought sex, laughs, applause and a handful of enthusiastic bravos to the last weekend of the festival.

‘The Immigrant’ Director James Gray Says He Is ‘Unabashedly Pro Immigration’ at Cannes

It was no surprise really that American filmmaker James Gray would be asked for his opinions on immigration policy during the Cannes press conference for his latest work “The Immigrant,” simply given that title. Still, his response was a solid one that shed a great deal of light on the defining reason he went down the period route (it’s set in 1921) for the first time with this film.

Cannes: Marion Cotillard On Learning Polish to Play ‘The Immigrant’ for James Gray (Who Reveals He Was Unfamiliar With the Actress)

The Best Actress winner speaks to the press following the screening of James Gray’s “The Immigrant.”

Cannes: Alexander Payne Explains Why He Shot ‘Nebraska’ in Black and White and Cast Will Forte as His Dramatic Lead

With this year’s edition of the Cannes Film Festival in its winding down phase (it concludes on Sunday), it’s easy to forget there are still some heavy hitters left to screen in the Competition, one of which, Alexander Payne’s “Nebraska,” screened this morning for press before its gala later on.

‘The Artist’ Star Bérénice Bejo On Returning to Cannes With ‘The Past’ and Working With Asghar Farhadi For Half a Year

Returning to Cannes following her international breakthrough performance in 2011’s awards juggernaut “The Artist,” directed by her husband Michel Hazanavicius, Oscar nominee Bérénice Bejo returned the Croisette this year with another film to sure to return her to the forefront of awards talk — Asghar Farhadi’s follow-up to his Oscar-winning “A Separation,” “The Past.”

‘Only God Forgives’ Director Nicolas Winding Refn at Cannes: ‘I have a fetish for violent images’ (No Kidding)

Nicolas Winding Refn might have expressed disdain in 2011 for Lars von Trier’s infamous Nazi remarks at Cannes, but the fellow Danish auteur is no less a provocateur, as evidenced by his bleak, ultra-violent Palme d’Or contender “Only God Forgives.” 

Kristin Scott Thomas Talks ‘Only God Forgives’ at Cannes: ‘This kind of film is really not my thing’

“She has no problem turning on the bitch switch,” said Nicolas Winding Refn of Kristin Scott Thomas, the scene-stealer from his new film.

Sex, Tears and Liberace: Steven Soderbergh, Matt Damon and Michael Douglas Go ‘Behind the Candelabra’ at Cannes

Immediately following the screening of Steven Soderbergh’s final film (reportedly), press rushed to the film’s press conference where Soderbergh and co. talked about the making of the film. Here are the highlights.

‘Ain’t Them Bodies Saints’ Doomed Lovers Rooney Mara and Casey Affleck on Cannes Reception and Those Terrence Malick Comparisons

The two stars talk to Indiewire about the experience of premiering 1970’s-set crime love story “Ain’t Them Bodies Saints” on the Croisette.

‘F*ck yeah, let’s go:’ Robin Wright Discusses Playing Robin Wright in Ari Folman’s Divisive Cannes Drama ‘The Congress’

Robin Wright discusses her fruitful career and her last role playing, well, herself in Ari Folman’s “The Congress.”

How Jeremy Saulnier Went From Corporate Videos to Premiering ‘Blue Ruin’ at Cannes

Just over a month ago Jeremy Saulnier was in Cleveland shooting corporate videos. His latest feature film “Blue Ruin” just premiered at the Director’s Fortnight. Saulnier discusses the making of the movie as well as his experience on the Croisette.

Why Director’s Fortnight Didn’t Decide On It’s Lineup Until the Last Second

Édouard Waintrop, artistic director of the Director’s Fortnight at Cannes, talks to Indiewire about how this year’s lineup was barely decided in time and the criteria they use for selecting films to be shown as part of the Fortnight.

Baz Luhrmann Addresses His ‘Great Gatsby’ Critics at Cannes and Talks About Film Alongside Leonardo DiCaprio and Tobey Maguire

Having already come out stateside before opening Cannes less than a week later, “The Great Gatsby” garnered a healthy box office but not very enthusiastic responses from critics. Director Baz Luhrmann and the cast discuss the film’s bold use of anachronistic music as well as the mixed reception.

The 10 Best Things Sofia Coppola and Emma Watson Said at ‘The Bling Ring’ Cannes Press Conference

Director Sofia Coppola discusses what inspired her to make the film , and Emma Watson discusses her career after “Harry Potter” and how watching ‘The Hills’ helped her prepare for role part of Nikki.

The 9 Best Things Said by the Coen Bros., Carey Mulligan and Justin Timberlake at the ‘Inside Llewyn Davis’ Press Conference

The directors and stars of the film talk about the humorous onset vibe, their love of folk music and their unique plans for the soundtrack release.

Go to page 2 for NEWS and page 3 for REVIEWS.


Cannes Camera d’Or Winner ‘Ilo Ilo’ Goes to Film Movement

First time feature director Anthony Chen’s film gets picked up by Film Movement for an early 2014 theatrical run.

Que(e)ries: It Was an Impressively Gay Cannes, But ‘Behind The Candelabra’ Ended Up Having Little To Do With That

Abdellatif Kechiche’s “Blue Is The Warmest Color” (La Vie d’Adele) made history by becoming the first film centered on a same-sex relationship to win the Palme d’Or in the festival’s 66 year history.  The film — about a lesbian romance between two French teenagers (Lea Seydoux and Adele Exarchopoulos) — received a lot of attention during the course of the fest.

Sundance Selects Buys ‘Like Father, Like Son,’ Its 4th 2013 Cannes Film Festival Title

Sundance Selects is acquiring U.S. rights to Japanese writer-director Kore-eda Hirokazu’s “Like Father, Like Son,” which took a jury prize at the 2013 Cannes Film Festival.

‘Blue is the Warmest Color’ Wins the Palme d’Or at the 2013 Cannes Film Festival; Berenice Bejo and Bruce Dern Win Acting Honors

Abdellatif Kechiche’s coming of age drama “Blue is the Warmest Color” has won the coveted Palme d’Or at the 2013 Festival de Cannes.

‘Fruitvale Station’ Wins Prize of the Future at Cannes

Ryan Coogler’s acclaimed drama “Fruitvale Station,” which played in the Un Certain Regard section here at Cannes, has won the Prize of the Future at the festival. The film had its world premiere at Sundance earlier this year where it won both the Grand Jury Prize and the Audience Award.

‘The Missing Picture’ Tops Cannes’ Un Certain Regard Prizes

The Un Certain Regard program of the 2013 Cannes Film Festival announced its awards this evening, with French-Cambodian director Rithy Panh’s “The Missing Picture” taking the top prize.

Jim Jarmusch’s Tilda Swinton Vampire Pic ‘Only Lovers Left Alive’ Heads From Cannes To Sony Classics

A day before its official premiere in Cannes, Jim Jarmusch’s “Only Lovers Left Alive” has been picked up by Sony Pictures Classics for U.S. Release. 

2013 Cinéfondation Awards Prizes to ‘Needle,’ ‘Waiting For The Thaw,’ ‘In the Fishbowl’ and ‘Pandas’

The Cinéfondation and Short Films Jury announced the 2013 Cinéfondation Prizes in a ceremony held at the Buñuel Theater. The first prize went to Anahita Ghazvinizadeh, a student at the School of the Art Institute of Chicago, for her short film “Needle,” which follows a young girl who is going to get her ears pierced.

Well Go USA Acquires Filipino Thriller ‘On The Job’ Ahead of Its Cannes Premiere

Ahead of its world premiere in the Director’s Fortnight at Cannes today, Well Go USA has acquired all North American rights to “On The Job.”

Cannes: Guillaume Gallienne’s ‘Me Myself and Mum’ Takes Directors’ Fortnight Prize

Guillaume Gallienne’s “Me Myself and Mum” won the two top prizes at the 45th Directors’ Fortnight, earning both the Art Cinema Award and the Society of Dramatic Authors and Composers’ Prize.

Sony Pictures Classics Acquires Cannes Critics’ Week Winner ‘The Lunchbox’

Sony Pictures Classics today acquired North American rights to “The Lunchbox,” winner of the Viewer’s Choice Award, Grand Rail d’Or, at the 2013 Cannes Critics’ Week. 

Sundance Selects Takes Cannes’ ‘Selfish Giant’

Sundance Selects has acquired all North American rights to Clio Barnard’s “The Selfish Giant,” which premiered in the Directors’ Fortnight section of Cannes this past week.

‘Salvo’ Tops Cannes Critics’ Week Winners

Fabio Grassadonia and Antonio Piazza’s “Salvo” won the top prize at the Cannes Film Festival’s 52nd Critics’ Week. The film — about a romantic relationship between a hitman and the sister of someone he’s murdered — took both the Grand Prix and the France 4 Revelation Prize.

Sundance Selects Takes Ozon’s ‘Beautiful’ Out of Cannes

Sundance Selects has acquired U.S. rights to Francois Ozon’s Cannes Film Festival competition title ‘Young & Beautiful.”

Cannes: Guillaume Canet’s ‘Blood Ties’ Starring Marion Cotillard and Clive Owen Coming to Theaters Via Roadside Attractions

Guillaume Canet’s Cannes thriller (and English language debut following “Tell No One” and “Little White Lies”) “Blood Thriller” has landed with Lionsgate. The studio will release it through its sister company Roadside Attractions.

Strand Buys Sexy Un Certain Regard Hit ‘Stranger By the Lake’

Strand Releasing has acquired all North American rights to Alain Guiraudie’s “Stranger By the Lake,” which premiered at the Cannes Film Festival in Un Certain Regard. 

Keanu Reeves’ Directorial Debut Goes to RADiUS Out of Cannes

RADiUS – TWC is on a roll at Cannes, announcing today that the company has acquired North American rights to Keanu Reeves’ directorial debut “Man of Tai Chai,” days after nabbing the Directors’ Fortnight thriller “Blue Ruin.

Cannes Contender ‘A Touch of Sin’ Heads To Kino Lorber

Kino Lorber has acquired all US rights to Jia Zhangke’s “A Touch of Sin,” currently in competition at the Cannes Film Festival.

Five Minutes of Nicole Kidman as ‘Grace of Monaco’ is Not Enough: The Weinstein Co. Underwhelms With Their Cannes Preview

After their stellar showcase of pre-trailer footage at Cannes last year, The Weinstein Company left many unimpressed with its plethora of trailers already available to watch online. Their most high-profile exclusive, five minutes of footage from the upcoming Grace Kelly biopic “Grace of Monaco,” did little to build excitement or anticipation.

RADiUS-TWC Makes First Major Deal of Cannes: Jeremy Saulnier’s ‘Blue Ruin’

The pocketbooks are coming out in a big way for Fortnight entry “Blue Ruin,” with RADiUS-TWC announcing that it has acquired the rights to the thriller and will prepare it for a theatrical release in the Fall.

Go to page 3 for REVIEWS.


Palme d’Or Winner ‘Blue is the Warmest Color’ Tops Indiewire’s Cannes 2013 Critics Poll

The romance that claimed the Palme d’Or is also a hit with critics.

Why This Year’s Cannes Film Festival Prizes Went to the Right Films

“I know that it would be nice to have some drama,” Steven Spielberg said at the press conference with his fellow jurors at the Cannes Film Festival on Sunday. However, according to the jury’s esteemed president, nobody “bumped heads about the films were privileged to see here.” 

How Cannes’ Critics Week Section Heralds New Filmmaking Talent

The festival’s leanest section, Critics’ Week, programs first and second films from emerging directors. This year offered a strong panorama of titles by young filmmakers that were quite different from the films in Official Selection.

Lesbian Coming-of-Age Epic ‘Blue Is the Warmest Color’ Offers Honest, Sexually Frank Insights

The first sex scene in “Blue Is the Warmest Color,” Abdellatif
Kechiche’s French coming-of-age drama about a young lesbian couple,
lasts longer than any other sequence in the movie. To dwell on its
length, however, shortchanges its relevance to this three-hour-long

With ‘Nebraska,’ Has Alexander Payne Gone Soft?

The first project that the filmmaker didn’t write himself, “Nebraska”
lacks the vulgar edge typically at the center of his scenarios. It’s a
sad, thoughtful depiction of midwestern eccentrics regretting the past
and growing bored of the present, ideas that Payne regards with gentle
humor and pathos but also something of a shrug.

How ‘Only God Forgives’ Suggests Ryan Gosling’s Schtick Has Worn Thin

Unfortunately, by re-teaming with Refn for the far less inventive genre
exercise “Only God Forgives,” Gosling has tumbled into the exact
trappings that “Drive” smartly assailed.

James Gray’s Marion Cotillard-Starring Period Drama ‘The Immigrant’ Is the Most Divisive Film in Cannes Competition

Gray’s fifth directorial effort is a conflicting experience admirable
and powerfully executed in parts, cold and meandering in others.

James Franco’s Ambitious Directorial Effort ‘As I Lay Dying’ is Dragged Down by Franco’s Own Performance

The actors are generally surprisingly solid, with one conspicuous
exception: Franco himself, who might have been too busy on set to
concentrate on his work as an actor and/or to direct himself properly.

Robert Redford’s Strangest Role of His Career Is In J.C. Chandor’s ‘All Is Lost’

While simplistic to describe, however, the movie is an impressively
realized work of minimalist storytelling that foregrounds Redford’s
physicality more than any other role in his celebrated career. His
performance defines the movie to an almost shockingly experimental

Martian Zombies and Liev Schreiber Can’t Quite Salvage ‘Last Days on Mars’

its impressive visuals and a solid first act, ‘Last Days on Mars’
devolves into a stupid and uninspired zombie flick that ruin’s the
movie’s initial promise.

‘Behind the Candelabra’ is Steven Soderbergh’s Glamorous, Garish and Great Goodbye (For Now)

“Behind the Candelabra,” which premiered at Cannes today before heading
to HBO on Sunday, May 26th at 9pm, is Steven Soderbergh’s virtuoso swan
song to filmmaking (at least for now), his final feature before stopping
to focus on his painting.

At Nearly 4 Hours, Claude Lanzmann’s ‘The Last of the Unjust’ Adds a Valuable Chapter to ‘Shoah’

his epic 1985 Holocaust documentary “Shoah,” filmmaker Claude Lanzmann
shows that he is still very much capable of mining engrossing material
about the atrocity, with his latest “The Last of the Unjust” covering
the Czech ghetto Therienstadt.

Killer Dance Movies and Crime In Simple, Formulaic ‘Grisgris’

The movie has a lot less on its mind and makes no drastic attempts to
overreach. A straightforward tale of overcoming personal and
professional challenges with no fancy dressing, “Grigris” goes down easy
but offers nothing remotely fresh.

Suicide and Sexual Abuse Abound in Claire Denis’ Frustratingly Muddled ‘Bastards’

Despite a strong cast and shadowy mysteries that deepen the plot, “The
Bastards” creates the sour impression of a half-formed work.

Family Problems Dominate In Clio Barnard’s ‘The Selfish Giant’ And Kore-eda’s ‘Like Father Like Son,’ But ‘Borgman’ Makes Them Scary

Movies for families tend to embrace the value of sticking together.
However, movies about families — at least those with a certain amount
of gall — assail that very same principle.

Why ‘Inside Llewyn Davis’ Isn’t the Minor Coen Bros. Movie It Looks Like

Coen Brothers surprised and impressed with “Inside Llewyn Davis,” their
1960’s-set tale of a fledgling folk musician thanks to a revelatory
performance by Oscar Isaac in the title role as well as a catchy score
by T. Bone Burnett.

‘The Dance of Reality,’ Alejandro Jodorowsky’s First Film in 23 years, is a Return to Form

cult director Alejandro Jodorowsky returns to the filmmaking scene
after over two decades without losing any of his brazenly surreal

Roman Polanski’s Rarely Seen Formula 1 Racing Doc ‘Weekend of a Champion’ Is Restored and Updated at Cannes

Rarely screened around the world, “Weekend of a Champion” was praised by
racing enthusiasts but otherwise remained a near-mythological sidenote
to the more significant credits Polanski accrued during that major
period of his career.

How Asghar Farhadi’s ‘The Past’ Confirms His Mastery of Human Behavior

on the heels of his Oscar-winning 2011 drama “A Separation,” “The Past”
sees Iranian director Asghar Farhadi leaving his native country for
France, while still maintaining his steadfast devotion to his
characters’ emotions.

Teens Living Dangerously in Sofia Coppola’s “The Bling Ring” and Francois Ozon’s “Young and Beautiful”

films explore overeager youth, both yielding interesting results: Sofia
Coppola’s depiction of teens robbing celebrity homes in the
real-life-inspired “The Bling Ring,” and Francois Ozon’s “Young and
Beautiful,” which portrays a young girl who becomes a prostitute online.

Forget ‘The Great Gatsby,’ The Best 3D Movies at Cannes Is Directed By Jean-Luc Godard

A jumbled semiotics class on acid, the 3D anthology film “3X3D” is the
second omnibus project produced by the European Capital of Culture
(following last year’s “Centro Historico”), but it stands alone as a
uniquely strange experience.

With ‘Only Lovers Left Alive,’ Jim Jarmusch Caps a Great Year For American Auteurs in Cannes

If the fashionable bloodsuckers of the “Twilight” movies traded their
frantic stares for expressions of ennui, they might have something in
common with Adam (Tom Hiddleston) and Eve (Tilda Swinton), the retro
cool vampires at the heart of Jim Jarmusch’s “Only Lovers Left Alive.”

The Highlights From Un Certain Regard

It was a big year for American films in competition at the Cannes Film
Festival, but in the neighboring Un Certain Regard section, they came
and went with a whimper.  Perhaps that’s because they simply played it
too safe in a section filled with daring creativity. Literally
translated as “Of a Certain Regard,” this spillover section carries the
whiff of snobbery (“it’s good, but not good enough for competition”),
but also makes room for a broader spectrum of international cinema than
the 20 competition slots provide. The American cinema in Un Certain
Regard suffered by comparison to far more adventurous titles.

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