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I guess DeNiro heading a jury is much like the man himself, forgettable.

I apologize if this has been addressed already in previous threads, but it's a question I've had on my mind for awhile: what, exactly, is the difference between "In Competition" and "Un Certain Regard" films? Is "Un Certain Regard" just films that couldn't quite make it into the real competition, or is there an artistic/thematic divide? If not "quality," is there a set of criteria that divides the two?

Any word on the new Garrel, Un Ete Brulant? It cant be as bad as La Frontière de l'aube was.

eljacko wrote:I apologize if this has been addressed already in previous threads, but it's a question I've had on my mind for awhile: what, exactly, is the difference between "In Competition" and "Un Certain Regard" films? Is "Un Certain Regard" just films that couldn't quite make it into the real competition, or is there an artistic/thematic divide? If not "quality," is there a set of criteria that divides the two?

It's a whim mostly. For example Godard didn't get into competition because he preferred the other theater.

It was announced today that Richard Linklater's new film Bernie is screening at the Cannes marketplace. I wonder if it was rejected from the festival? You think they would be happy to screen the latest from Linklater. Maybe the movie isn't any good.

Nani Moretti's We Have a Pope has been getting middling to poor reviews. (It just opened in Italy) If the film is that mediocre, I wonder why they bothered giving it a competition slot instead of a more deserving film.

Speaking of Linklater when's his Boyhood project going to be done filming?

knives wrote:Speaking of Linklater when's his Boyhood project going to be done filming?

2013

knives wrote:

eljacko wrote:I apologize if this has been addressed already in previous threads, but it's a question I've had on my mind for awhile: what, exactly, is the difference between "In Competition" and "Un Certain Regard" films? Is "Un Certain Regard" just films that couldn't quite make it into the real competition, or is there an artistic/thematic divide? If not "quality," is there a set of criteria that divides the two?

It's a whim mostly. For example Godard didn't get into competition because he preferred the other theater.

Godard was being characteristically perverse, it must be said. Competition screenings have a higher profile, draw more press coverage and are held in a larger theatre with a dress code, and only Competition titles can compete for the major prizes, including the Palme d'Or. Whilst there is traditionally one debut feature in competition, it is mostly reserved for big name auteurs and past winners, which would explain the presence of the Moretti, whereas UCR has traditionally been for films by 1st or 2nd time directors + films that are considered too edgy, experimental or marginal for the competition. In recent years, the emphasis in UCR has been more towards the latter, with most of the debut films finding their way into Critics' Week, and the Competition perhaps becoming more orientated towards 'heavyweight', more mainstream, titles, with the lobbying of national funding agencies, studios and major sales agents inevitably holding a certain amount of sway. They do usually still manage to slip some fortunate underdogs into the Competition mix: Brillante Mendoza, for example, benefited greatly from Competition berths in 2008 + 2009, with films that would almost certainly have gotten lost in UCR due to difficult subject matter, slow pacing, lack of established talent, etc - although it's hard to determine what separated Mendoza's work from some other great titles in UCR in those years. In that sense it does sometimes seem to come down to a whim, yes, and, quality-wise, it has become more difficult to differentiate between the two selections. The press haven't been helping matters, it must be said, with the more boundary-pushing Competition titles often the worst received - eg. the afforementioned Mendoza titles, Colossal Youth, L'Humanite, Irreversible, and of course Brown Bunny, to name a few. This year, the Dumont would seem to be a prime example of the sort of title now considered too dangerous for Competition. I believe he was offered UCR berths for Twentynine Palms and Hadewijch also, but preferred to premiere in Venice, so his presence this year is interesting (Flandres was headed for UCR/Venice too, until he removed the violent ending).

You have to admit that quality and fame is not a serious determiner of where a film goes. Taking from the same year as my previous example Aurora is fairly high profile and (probably) good, but was out of competition just because. There doesn't seem to be a science to the distinction.

Er, Aurora is the definition of a 'difficult' hard arthouse title - slow, violent and three hours long. Precisely the sort of film that ends up in UCR. Also, despite critical acclaim for Mr. Lazarescu, don't forget that Puiu is a relatively new filmmaker and has yet to make it into Competition.

Nothing wrote:In that sense it does sometimes seem to come down to a whim, yes, and, quality-wise, it has become more difficult to differentiate between the two selections. The press haven't been helping matters, it must be said, with the more boundary-pushing Competition titles often the worst received - eg. the afforementioned Mendoza titles, Colossal Youth, L'Humanite, Irreversible, and of course Brown Bunny, to name a few.

This is the sort of feeling I've been getting as I read over the selections each year. I remember reading about the reaction to The Headless Woman a year or two ago, which was really disappointing as it was one of my favorites.

Even still, part of me wishes that Hong Sangsoo could make it into competition at least once, as he's been in UCR for two or three years in a row. Then again, he won it last year...

eljacko wrote: Even still, part of me wishes that Hong Sangsoo could make it into competition at least once, as he's been in UCR for two or three years in a row. Then again, he won it last year...

Hong was in Competition in 2004 and 2005 with Woman is the Future of Man and Tale of Cinema. The guy makes so many films, I think it'd be a bit much to put all of his films in the top slot. Though, I do think that Hahaha would've done well in Competition last year.

Fierias wrote:The guy makes so many films, I think it'd be a bit much to put all of his films in the top slot. Though, I do think that Hahaha would've done well in Competition last year.

...And yet they never get released outside of Asia.

knives wrote:...And yet they never get released outside of Asia.

Sadly, that applies to many quality filmmakers littered throughout all of the Cannes sidebars. Every year there are films that get people asking Why wasn't that in Competition?, and they would have benefitted from the exposure for sure, but it's good to give other guys a chance in the spotlight. Ever see a film by Christoph Hochhäusler in an American cinema? Unlikely unless it was at a festival or rep cinema. Now there is somebody that could do with better exposure.

The Iron Lady, a biopic of Margaret Thatcher starring Meryl Streep will also be screened for buyers at the Cannes film market.

They've also added an out of competition festival screening of the documentary Bollywood- The Greatest Love Story Ever Told to the festival.

ianungstad wrote:The Iron Lady, a biopic of Margaret Thatcher starring Meryl Streep will also be screened for buyers at the Cannes film market.

Is there even a snow balls chance in hell this won't be god awful absolutely unbearable whitewashing trash?

Neil Young updates the odds.

knives wrote:

ianungstad wrote:The Iron Lady, a biopic of Margaret Thatcher starring Meryl Streep will also be screened for buyers at the Cannes film market.

Is there even a snow balls chance in hell this won't be god awful absolutely unbearable whitewashing trash?

I do hope this includes the infamous Mrs T at tea with Pinochet with perhaps De Niro or Nicholson in a cameo role playing the "bringer of democracy to Chile."

So Tree could "easily prove an overcooked, overhyped, beautiful bust"? Unlikely... As much as the 3-1 odds sting, it's still the obvious bet.

Ceylan is a respectable outside shot, for sure, but as another alpha-male auteur with a lengthy, ultra-serious male-orientated epic on his hands, I can't quite see him pipping Malick, despite the benefit of his nationality.

As for Kawase, many find her talentless, ergo she isn't a consensus builder and could only win on the sympathy vote. Whilst one shouldn't underplay the significant benefit of her gender too, especially amongst a bunch of middle-aged men keen to flex their PC credentials, it's just too obvious and too obviously shallow a choice with Malick waiting in the wings, surely. Having said this, Young is right to raise the spectre of Assayas, who is highly opinionated and has questionable taste.

But I'd say if anyone is going to beat Malick it's Ramsay. She has the benefit of gender bias too, but she's a much better director than Kawase and will also command a certain amount of sympathy for the amount of time it's taken her to get the film made. At 12/1, would recommend a bet on Ramsay covered by a bet on Tree.

NABOB OF NOWHERE wrote:

knives wrote:

ianungstad wrote:The Iron Lady, a biopic of Margaret Thatcher starring Meryl Streep will also be screened for buyers at the Cannes film market.

Is there even a snow balls chance in hell this won't be god awful absolutely unbearable whitewashing trash?

I do hope this includes the infamous Mrs T at tea with Pinochet with perhaps De Niro or Nicholson in a cameo role playing the "bringer of democracy to Chile."

Well, they've got the soundtrack readymade:

http://www.youtube.com/watch?v=9t4-zDem1Sk" onclick="window.open(this.href);return false;

14 fiction features in Cannes Classics, variously in new and restored prints... The Melies is the restored colour version...

1.A Trip to the Moon (Le Voyage dans la lune) by Georges Méliès (France, 1902)
2.A Clockwork Orange by Stanley Kubrick (USA, 1971)
3.The Machine to Kill Bad People (La Macchina Ammazzacattivi) by Roberto Rossellini (Italy, 1952)
4.A Bronx Tale by Robert De Niro (USA, 1993)
5.The Conformist (Il Conformista) by Bernardo Bertolucci (Italy, 1970)
6.Sugar Cane Alley (Rue Cases-Négres) by Euzhan Palcy (France, 1983)
7.Puzzle of a Downfall Child by Jerry Schatzberg (USA, 1970)
8.The Law of the Border (Hudutlarin Kanunu) by Lufti O. Akad (Turkey, 1966)
9.No Man’s Land (Niemandsland) by Victor Trivas (Germany, 1931)
10.The Children of Paradise (Les Enfants du paradis) by Marcel Carné (France, 1945)
11.Despair by Rainer Werner Fassbinder (Germany, 1978)
12.The Savage (Le Sauvage) by Jean-Paul Rappeneau (France, 1975)
13.Chronicle of a Summer (Chronique d’un été) by Jean Rouch and Edgar Morin (France, 1960)
14.The Assassin (L’Assassino) by Elio Petri (Italy, 1961)

Plus 5 documentaries...

•The Look by Angelica Maccarone (Germany / France, 2011)
•Corman’s World: Exploits Of A Hollywood Rebel by Alex Stapleton (USA, 2011)
•Belmondo … Itineraire by Vincent Perrot and Jeff Domenech (France, 2011)
•Kurosawa’s Way (Kurosawa, la Voie) by Catherine Cadou (France, 2011)
•Once Upon a Time … A Clockwork Orange (Il était une fois… Orange mécanique) by Antoine de Gaudemar and Michel Ciment (France, 2011)

Re. possible future Criterion releases, the following paragraph is of note...

The Rossellini Project
Like Charlie Chaplin, Cannes 2011 will launch the restoration project of ten films by Roberto Rossellini (including Rome, Open City, L'Amore, Stromboli, and Germany Year Zero), a collaboration between Cinecittà Luce, CSC-Cineteca Nazionale, Cineteca di Bologna et Coproduction Office.
The first of these films is a little known work of Rossellini, released in 1952, between The Flowers of St. Francis and Europe 51: The Machine to Kill Bad People (The Macchina Ammazzacattivi). Digitally restored from the finest elements of the existing film.

Just what the world needs, a new restored print of 'A Bronx Tale'

A new/restored print of Children in Paradise should bode well for a Crit Blu in 2012.

The details of that one...

The Children of Paradise (Les Enfants du Paradis)
After the presentation of Boudu Saved From Drowning by Jean Renoir and The Leopard by Luchino Visconti, Pathé and the Fondation Jérôme Seydoux-Pathé continue to visit the Pathé catalogue and return to Cannes Classics with a presentation of a restored and digitized print of The Children of Paradise by Marcel Carné, with dialogues by Jacques Prévert.

A blu-ray of The Children of Paradise is rumored to be released by Pathé this year.