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Presumably, Cannes would love to screen Roma (which likely isn't in 70 mm, despite reports from last year), but Cuarón's never even screened at Cannes.

From the BTS footage it appears they used an Arri Alexa of some kind:

http://remezcla.com/film/alfonso-cuaron ... nes-video/" onclick="window.open(this.href);return false;

Ribs wrote:Props to Deadline for doing possibly the only good Journalistic choice they've ever made, with the headline "Netflix Dumps Cannes One Year After Being Dumped By Cannes"

Definitely a "You can't fire me, I quit" response. Also, I wish I lived in a world where the Meyerowitz Stories was one of the biggest films of the year

The lineup on this one seems to be coalescing into something unexpected. At this point, I can see such names as Ceylan, Leigh, Reygadas, Cuarón, Assayas, Audiard completely missing.

The French frontrunners (which may not even be confirmed at this point) seem Hansen-Løve, Honoré, Brizé, and a buzzer-beating Denis.

Omensetter wrote:The lineup on this one seems to be coalescing into something unexpected. At this point, I can see such names as Ceylan, Leigh, Reygadas, Cuarón, Assayas, Audiard completely missing.

I'll be blown away (and highly disappointed) if Ceylan isn't in there.

Leo Realism wrote:

Presumably, Cannes would love to screen Roma (which likely isn't in 70 mm, despite reports from last year), but Cuarón's never even screened at Cannes.

From the BTS footage it appears they used an Arri Alexa of some kind:

http://remezcla.com/film/alfonso-cuaron ... nes-video/" onclick="window.open(this.href);return false;

My friend did the lens tests for this film at the Arri rental house in NJ and they were on the Arri Alexa 65 camera, the same one used on The Revenant. Presumably this is what was used during the final shooting.

Special Screenings
10 Years in Thailand --- Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol & Apichatpong Weerasethakul
The State Against Mandela --- Nicolas Champeaux & Gilles Porte
Le Grand Cirque Mystique --- Carlo Diegues
Dead Souls --- Wang Bing
To the Four Winds --- Michel Toesca
La traversee --- Romain Goupil
Pope Francis, A Man of his Word --- Wim Wenders

Midnight Screenings
Artic --- Joe Tenna
The Spy Gone North -- Yoon Jong-Bing

Out of Competetion
La Grand Bain --- Gilles Lellouche
Solo, A Stars Wars Story --- Ron Howard

UCR
Border --- Ali Abassi
Sofia --- Meyem Benm’Barek
Little Tickles --- Andréa Bescond & Eric Métayer
Long Day's Journey into Night --- Bi Gan
Manto --- Nandita Das
Sextape --- Antoine Desrosieres
Girl --- Lukas Dhont
Angel Face --- Vanessa Filho
Euphoria --- Valeria Golino
Friend --- Wanuri Kahiu
My Favorite Fabric --- Gaya Jiji
The Harvesters --- Etienne Kallos
In My Room --- Ulrich Köhler
El Angel --- Luis Ortega
The Gentle Indifference of the World --- Adilkhan Yerzhanov

Competition
Everybody Knows --- Asghar Farhadi
At War --- Stéphane Brizé
Dogman --- Matteo Garrone
Le Livre D'Image --- Jean-Luc Godard
Asako I & II --- Ryusuke Hamaguchi
Sorry Angel --- Christophe Honoré
Girls of the Sun --- Eva Husson
Ash is Purest White --- Jia Zhang-ke
Shoplifters --- Hirokazu Kore-eda
Capernaum --- Nadine Labaki
Burning --- Lee Chang-dong
Blackkklansman --- Spike Lee
Under the Silver Lake --- David Robert Mitchell
Three Faces --- Jafar Panahi
Cold War --- Pawel Pawlikowski
Lazzaro Felice --- Alice Rohrwacher
Yomeddine --- A.B. Shawkey
Leto --- Kirill Serebrennikov

Fantastique!

Seems like an interesting mix of directors I like, some I don't and those I've never even heard of. Hopefully this will mean a good slate. Any word on the unknowns (Serebrennikov, Husson and Labaki)?
I hope they'll add a few more as always happens (and while it was rumored not to be ready, I hope Denis' High Life makes it in)

They'll add more, including a French and I'd bet on Denis.

Those OOC slots do indeed looked like they were set for the Netflix films. De Palma's would make a good closer. It might keep people around.

I can see von Trier's not screening because its controversial elements containing---how do I put it---the opposite of Spike Lee opening his new film BlacKKKlansman on the anniversary of Charlottesville. Nazis is probably the word I was looking for. Or the film could just suck. Same for Nemes, which seemed like a shoe-in.

It's exciting that Fortnight will potentially have a lot of big names on its anniversary.

As exciting as many of these titles are, I can't help but feel somewhat disappointed with the slate - even assuming there are two or three major additions as we get closer - given some of the rumored potential candidates. Setting aside the Netflix titles from Cuaron, Greengrass, Saulnier, and Welles, there were new features from Malick, Ceylan, Assayas, Korine, Guadagnino, Sorrentino, Audiard, Leigh, Nemes, Denis, De Palma, Hansen-Love, and Von Trier that were widely considered to be possibilities; on the plus side, the fall festivals should be packed!

Of what is playing from filmmakers I'm unfamiliar with, I'm most interested in Girls of the Sun (Eva Husson), At War (Stephane Brize), and Summer (Kirill Serebrennikov); anyone with strong opinions on anything else they've done?

I disliked Measures of a Man by Brize, the other two I've never heard of. I hope they get at least three of those you name checked in, slate seems rather benign in a way

Asako I & II --- Ryusuke Hamaguchi

That reminds me that I have to get to watching Happy Hour. And a new Godard and Hirokazu Kore-eda film is always great to see!

dda1996a wrote:Seems like an interesting mix of directors I like, some I don't and those I've never even heard of. Hopefully this will mean a good slate. Any word on the unknowns (Serebrennikov, Husson and Labaki)?
I hope they'll add a few more as always happens (and while it was rumored not to be ready, I hope Denis' High Life makes it in)

Labaki is the Lebanese filmmaker responsible for Caramel and Where Do We Go Now?, neither of which I have seen but struck me as fluffy crowdpleasers. Husson did Bang Gang: A Modern Love Story, a film about orgy-holding French teenagers that received some muted praise. I thought Brize’s The Measure of a Man was pretty good, but nothing special (kind of Dardennes-lite). Don’t know anything about Serebrennikov.

Apart from Godard’s new film (which could be anything), the ones I’m most looking forward to in the Competition lineup are Lee Chang-dong (by a mile) and then Farhadi, Hamaguchi and Rohrwacher. As in the last few years, though, I wonder if the really interesting stuff will be confined to Un Certain Regard.

Caramel is a good movie, though it doesn't go beyond the generic middle east melodrama thing that Panahi already perfected 20 years ago.

Thierry Fremaux in THR:

TF: There should be five or six more films announced next week, a few of which will play in competition. In general, we tend to show a total of 20 or 21 movies in competition...

He also implies that the French media laws might have to be reexamined, and that he doesn't intend to enforce any quota for films directed by women.

furbicide wrote:

dda1996a wrote:Seems like an interesting mix of directors I like, some I don't and those I've never even heard of. Hopefully this will mean a good slate. Any word on the unknowns (Serebrennikov, Husson and Labaki)?

Labaki is the Lebanese filmmaker responsible for Caramel and Where Do We Go Now?, neither of which I have seen but struck me as fluffy crowdpleasers. Husson did Bang Gang: A Modern Love Story, a film about orgy-holding French teenagers that received some muted praise. I thought Brize’s The Measure of a Man was pretty good, but nothing special (kind of Dardennes-lite). Don’t know anything about Serebrennikov.

I thought I'd seen Serebrennikov's previous film The Student, but that was a different film of the same name by Kazakh director Darezhan Omirbayev (a kind of stiff, Kaurismakian - but unfunny - Dostoevsky adaptation). It looks like he's been making features for fifteen years, so surely some of them have escaped onto the international festival circuit?

zedz wrote:I thought I'd seen Serebrennikov's previous film The Student, but that was a different film of the same name by Kazakh director Darezhan Omirbayev (a kind of stiff, Kaurismakian - but unfunny - Dostoevsky adaptation).

"Kaurismakian - but unfunny"

Ha! You mean, then, Bressonian. Which is Omirbaev's thing.

In any case, the Omirbaev is way better than the Serebrinnikov, which is, by contrast, histrionic and heavy-handed. See the trailer, then imagine being forced to watch it over and over at high volume. Punishing.

yoshimori wrote:

zedz wrote:I thought I'd seen Serebrennikov's previous film The Student, but that was a different film of the same name by Kazakh director Darezhan Omirbayev (a kind of stiff, Kaurismakian - but unfunny - Dostoevsky adaptation).

"Kaurismakian - but unfunny"

Ha! You mean, then, Bressonian. Which is Omirbaev's thing.

Yeah, but a Kaurismaki comparison is much kinder to Omirbayev than a Bresson one would be!

I haven’t seen Student, but I just want to say that Omirbayev’s debut film, Kairat, is one of the most sublime, beautifully edited films I’ve ever seen. He wouldn’t be the first director to lose his way after showing early promise, but the guy is no amateur.

Anyway, back to Cannes, I’m guessing everyone has seen this? David Hudson has gone back and added short descriptions for the films in the UCR selection too.

Discussion of Netflix home video releases moved here

Jeremy Saulnier, whose film was caught up in the Netflix/Cannes spat:

In March, while promoting the release of “Ready Player One,” Steven Spielberg said that movies on streaming services “deserve an Emmy, and not an Oscar.” Saulnier was having none of that. “With new distribution platforms and release strategies on the rise, I hear a lot of volleying back and forth in the trades as to what constitutes a movie,” he said. “I’ll happily stay out of that debate as long as I can keep telling narrative stories with other people’s money. Oscar versus Emmy? Not concerned.” ... “But if anyone tries to tell me any of my modest movies aren’t actually movies they can kindly go stab themselves in the face several times and set themselves on fire.”

I did think that was a tone-deaf remark when Spielberg made it; just because a particular filmmaker doesn’t have the same kind of traditional studio support for their film - whether at the financing or distribution phase - doesn’t mean their work necessarily shouldn’t be considered alongside that of another filmmaker who happens to be lucky enough to be able to have their most minor trifle dropped in 2000+ theaters.

Spielberg's remark was the one that was tone-deaf? At least he didn't tell those who disagree with him to stab themselves in the face.

I think there's potency to what Spielberg said. Yes many filmmakers have no choice but to go with Netflix, but I firmly believe watching films at home can't match the experience of watching something in a dark theater with strangers. That communal effect is simply lacking when watching stuff at home. I'm not even talking about film v digital

Cremildo wrote:Spielberg's remark was the one that was tone-deaf? At least he didn't tell those who disagree with him to stab themselves in the face.

And set themselves on fire, too - don’t leave that part out.

I thought it went without saying that Saulnier’s response was less than polite.

dda1996a wrote:I think there's potency to what Spielberg said. Yes many filmmakers have no choice but to go with Netflix, but I firmly believe watching films at home can't match the experience of watching something in a dark theater with strangers. That communal effect is simply lacking when watching stuff at home. I'm not even talking about film v digital

I don’t disagree about the primacy of the theatrical experience, but I also think it’s easy for Spielberg to make some qualitative discrimination between distribution outlets when he actually has a choice as to where and how his films are released, unlike the vast majority of people trying to make quality original films. And if he personally was interested in supporting those people in releasing their films theatrically or getting them made in the first place, he could certainly do so by diverting resources away from, say, another Transformers film that is arguably less worthy of consideration as a film than dozens of others financed and released through Netflix.

Apparently it does not go without saying that Saulnier was obviously joking?