The Cannes Film Festival closed up shop this weekend (after some noted scandal) and Michael Haneke’s critical favorite AMOUR is carting home the Palme d’Or, while REALITY by Matteo Garrone nabbed the Grand Prix. AMOUR is Haneke’s second victory at Cannes, after 2009′s sparse and gently unsettling black and white feature THE WHITE RIBBON, and this second win is a testament to his considerable talents: having already established himself as the auteur of much darker fare (CACHE and FUNNY GAMES, especially, weren’t what you’d call feel-good movies), it’s remarkable that he has made an equally successful impression with his latest, decidedly more docile feature, which depicts love, loss and family for an octogenarian couple portrayed by French film legends Emmanuelle Riva and Jean-Louis Trintignant.
Article: Who Cannes? Gaultier Cannes.
John Paul Gaultier’s name has been associated with the Cannes Film Festival for over thirty years. Women, and of course certain men, have served as glorified mannequins donning his fantastic take on French chic as they grace red carpet premieres and after parties in his latest designs. But to some the decision to name Gaultier as a judge in this year’s jury panel caused confusion. Clearly these people are not familiar with the way artists across mediums have been collaborating throughout history (congrats AMOUR, btw).
How does one get to Cannes, Marseilles, or Moncaco? By yacht, of course. For the vast majority of people, this is a lofty prospect. But for the select few with the means (private jet, Maserati, large boat), the appropriate fashion is paramount. Fortunately there are visionaries in the world that still cater to the one percent of beautiful people in need of haute couture resort wear. Visionaries like Karl Lagerfeld, who seems to be getting more and more boisterous as he enters the new decade (shredding his more austere front), and Thomas Maier—who is still a fan of the quiet approach. While all eyes are on the Cannes, let’s take a peek at some of the fashions that will be all the planet’s most glamorous beaches over the next few months.
The Cannes Film Festival is the doyenne of all film festivals. It has kept the attention of film industry and it’s supporters for sixty-five years and has no signs of slowing down. And with an abundance of red carpets opportunities, after parties, and the usual fare of celebrities reveling in the beauty of the Riviera, it’s a perfect photo opportunity for paparazzi and stars a like. Fortunately, there are plenty of smart tuxedos and evening dresses to go around. The feel in the air so far has been a return to Hollywood drama. Full-length gowns with delicate beading, and the occasional train, have graced premieres at Cannes since the late 1950′s. For men, beards and mustaches were de rigeur, as was combing back of the hair. A sort of wet look to accent the sharp lines of their suits, and the soft curves accented in their counterparts’ dresses. Of course there was plenty of cheeky behavior to be captured. But this is a family website …
The Cannes Film Festival is in full swing right now (May 16-27) and one of its special guests is one of our favorite pleasure-object producers: the high end Swedish design company, Lelo. They’re screening their very own short — okay, it’s a crummy commercial. But as with everything Lelo does, it’s beautiful, sleek, glamourous, luxurious and inviting — like their toys (although we never will get the appeal of squirming around on a bed of roses).
Whether he’s chauffeuring you home in a golf cart or sneaking up behind you in public, Bill Murray commands your attention. His mere presence at the 65th Festival de Cannes is no different. He is certainly the most important member of director Wes Anderson’s party posse. They’re debuting their latest collaboration, MOONRISE KINGDOM, and while the critical consensus has been golden, a Bill Murray out in the wild will always steal the show! Take a look:
image via Slant Magazine
That springtime film festival somewhere in the south of France is now fully under way, and we’re sad to spread the word: there are no female-directed films in competition at Cannes this year. Not that things are much better here in the US. Only five percent of the past year’s big, studio films were helmed by ladies. What gives?
Article: A Surge In Serge Gainsbourg’s legend
Except for the time Meryl Streep played a rabbi, the coolest man with an accent on screen, as of next week, will be Serge Gainsbourg. The French composer of hypnotic jazz-pop in the 1960s is the subject of GAINSBOURG: A HEROIC LIFE, in which Eric Elmosnino plays the guy complete with all his quirks and multitalents.
Director Satyajit Ray separated himself from mainstream Indian cinema with PATHER PANCHALI, which premiered at Cannes (at midnight, during a party for Akira Kurosawa) in 1956. Still, several influential critics made it to the screening and championed the film’s originality and vision. It was completely unlike other Indian films in that there was no melodramatic…
As Cannes 2011 approaches, it was nice to have the opportunity to see last year’s Palme d’Or winner on the big screen: Apichatpong Weerasethakul’s UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES. Tim Burton was last year’s head of the jury — if you see this film, you’ll see the affinity here – UNCLE is a slow, strange, plot-less journey, relying on visuals and a slow-burn Ozu-like filmmaking that gets better as it goes. The sprinkling of visual surprises feel shocking in comparison to the rest of the material. There are some strange, visceral and unforgettable images, right up Burton’s alley. It’s a real treat in terms of originality — promises abound here that you’ve never seen anything like it before.
Article: THE WHITE RIBBON
When the townspeople of a rural village in Northern Germany cannot find the culprit responsible for the fall that injured their doctor and killed his horse, they let it go. And when a farmer’s wife is killed in a seemingly work-related accident, they again look the other way. But once the Baron’s son is found beaten and hung upside down and the midwife’s son has been dragged into the forest to have his eyes gauged out, people start to talk. When this last victim is discovered he has a note pinned to his chest that recounts the Old Testament adage, “For the sins of the father, you, though guiltless, must suffer.” Is it God punishing this staunch, repressed Protestant town, or is there someone amongst them who is to blame?
Article: Cannes loves Campion
Australian director Jane Campion is back in the spotlight at the 62nd Annual Cannes Film Festival where her new film, BRIGHT STAR, premiered Friday. The film centers on the last two years of poet John Keats’s short life (he died of tuberculosis at the age of 25) as seen through the eyes of his young…
Director James Toback introduces Mike Tyson at a dinner for the documentary, “Tyson,” at the Sundance Film Festival.
Clearly moved by the growing interest in the docu since its Cannes preem, Tyson addressed the diners: “I’m really very humbled. I had no idea it’d get to this magnitude. I was looking forward to selling bootleg DVDs… I told James it might be a foreign movie because of the language I’d be using.”