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[Perfect Blue]

New Farhadi is all I need in my life.

 

[berzeli]

Love how all the black people the story should be able are just window dressing and shock value anecdotes.

There's a 360-shot of Bardem and Theron arguing as a black amputee lays in bed in the background, like you cant make this shit up.

I'm so going to have to see this trainwreck. It sounds gloriously stupid.

It sounds like White Mans Burden: The Movie.

 

[big ander]

Already seein mixed reactions to the Farhadi, similar to the middling-to-positive The Past reception where people knew it was good but felt it was too much of a retread. Still gotta see The Past myself tho

The Last Face and Neon Demon reactions have been wild. Expected that for a Refn but didn't foresee it being at the level of "Fuck you Liv" lmao. Want to read more savage Penn takedowns. D'angelo's tweet about the overlong opening chyron was funny:

OPENING CHYRON: “between a man...” [endless pause] WOMAN NEXT TO ME: “Et une femme, non? Oh la la.” OPENING CHYRON: “...and a woman.”

Generally I've been encouraged by the reactions to the films I'm anticipating. Toni Erdmann sounds like it lives up to high expectations, the Arnold sounds very good with some flaws which is about how I felt about Red Road, The Handmaiden getting across-the-board positive reviews would be more worrying than the mixed takes it got. Only disappointment seems to be Loving, would figure Nichols had a way to make that premise not-oscar bait but apparently not. And also I really gotta go back and take care of some Jarmusch movies after the effusive praise for Paterson, only seen Broken Flowers.

Amazon Studios is just killing it with festival pickups. I mean look at their slate since they started buying for "original movies": Chi-Raq, Elvis & Nixon, Nuts!, Café Society, Manchester by the Sea, The Neon Demon, The Handmaiden, Paterson, Love & Friendship, Wiener-Dog, The Salesman

 

[Discotheque]

Amazon Studios is just killing it with festival pickups. I mean look at their slate since they started buying for "original movies": Chi-Raq, Elvis & Nixon, Nuts!, Café Society, Manchester by the Sea, The Neon Demon, The Handmaiden, Paterson, Love & Friendship, Wiener-Dog, The Salesman

yeah these guys are killing netflix in movie pickups. that's an impressive ass lineup.

 

[Puck Beaverton]

Broken Flowers is fine but it isn't representative of Jarmusch at all.

I think Amazon is also involved with the Gilliam Don Quixote film as well. Bless them.

 

[Bronx-Man]

Yeah, I've been hearing some uh.....interesting things out of Cannes when it comes to the Neon Demon. To this day I still haven't seen Only God Forgives, so I can only wonder what types of madness I'm missing out on.

 

[ViewtifulJC]

Amazon is super serious now, better get used to seeing their name in front of movies. Catch up, Netflix.

 

[Discotheque]

aww shit didn't even notice farhadi's name there. separation was so dope.

really good director lineup this year.

 

[big ander]

Yep Netflix is bankrolling some cool stuff and all, new Christopher Guest and a new Bong monster movie and David Wain/Will Forte's Lampoon biopic, but with all of those not coming until late this year at the earliest and many not even having been filmed yet, Amazon buying up so many finished and acclaimed films really makes them seem ahead of the pack

not that drive is a particularly good script but i have to wonder if he might be better off not writing his own material?

Drive is definitely his best that I've seen and I do think it's probably because he started with someone else's material and shaped it, but don't people really like the Pusher movies too? in any case I'd like to see him go the Drive route again, take on a pulpy genre script from someone else rather than trying to tap into his inner sixteen year old girl

Broken Flowers is fine but it isn't representative of Jarmusch at all.

I think Amazon is also involved with the Gilliam Don Quixote film as well. Bless them.

Alright I have Stranger than Paradise coming next from netflix, so that'll be my first trademark Jarmusch

Yeah, I've been hearing some uh.....interesting things out of Cannes when it comes to the Neon Demon. To this day I still haven't seen Only God Forgives, so I can only wonder what types of madness I'm missing out on.

Frankly OGF isn't really insane or outre. It's vulgar and colorful and consciously high-strung but not like, stupidly unhinged the way Cannes booing might have you thinking

 

[Perfect Blue]

Already seein mixed reactions to the Farhadi, similar to the middling-to-positive The Past reception where people knew it was good but felt it was too much of a retread. Still gotta see The Past myself tho

Thought The Past was good but not really a re-tread. The only similarities to A Separation is they both involve a family that has a husband and wife going through divorce.

About Elly is his best film.

 

[ViewtifulJC]

Well, the Verhoeven film sounds like everything I've ever wanted it to be. *starts "You Still Got It" chant*

 

[berzeli]

Main festival winners is for tomorrow but both sidebars have announced theirs:

International Critics' Week winners:

Nespresso
 Grand Prize

Mimosas by Oliver Laxe

France 4
 Visionary Award


Albüm by Mehmet Can Mertoğlu

Leica Cine Discovery Prize for short films 
 




Prenjak by Wregas Bhanuteja

Partner Awards:
Gan Foundation Award for Distribution



Sophie Dulac, French Distributor
for One Week and a Day (Shavua ve Yom) by Asaph Polonsky

SACD 
Award




Davy Chou and Claire Maugendre
co-writers of Diamond Island

Canal+ Award for short films 











L'enfance d'un chef (Birth of a Leader) by Antoine de Bary

Directors' Fortnight (technically all are partner awards and the sidebar itself is non competitive):

Art Cinema Award to a feature film
“Wolf & Sheep,” dir. Shahrbanoo Sadat

SACD Award to a French-language feature film
“The Together Project” (aka “L’Effet Aquatique”) dir. Solveig Anspach

SACD special mention
“Divines” dir. Houda Benyamina

The Europa Cinemas Label to a European feature film
“Mercenary” (aka “Mercenaire”) dir. Sacha Wolff

Illy Prize to a short film
“Chasse Royal” dirs. Lise Akoka, Romane Gueret

Illy special mention
“The Beast” (aka “Zvir”) dir. Miroslav Sikavica

Surprised that Neruda didn't win.

 

[Servbot #42]

Well, the Verhoeven film sounds like everything I've ever wanted it to be. *starts "You Still Got It" chant*

Makes me Happy to see Verhoeven coming back with a well received film, hopefully this isn't his last

 

[LeadenStride]

Maybe I'm just grumpy, but I remain steadfast in my proclamation that Drive was a fluke from Refn.

So you haven't seen the Pusher trilogy, the second part in particular?

 

[berzeli]

Forgot the Un Certain Regard had their awards tonight:

Prize of Un Certain Regard
Hymyilevä Mies (The Happiest Day in the Life of Olli Mäki)

Jury Prize
Fuchi Ni Tatsu (Harmonium) by Fukada Kôji

Prize for Best Director
Matt Ross for Captain Fantastic

Prize for Best Screenplay
Delphine Coulin & Muriel Coulin for Voir du Pays (The Stopover)

Special Prize Un Certain Regard
La Tortue Rouge (The Red Turtle) by Michael Dudok de Wit

 

[Discotheque]

So captain fantastic was pretty good then I take it? Won best director. Ill check it for viggo for sure

So hyped for that red turtle too. Blind buying that on bluray. It looks too good to pass up

 

[brianmcdoogle]

So you haven't seen the Pusher trilogy, the second part in particular?

I've seen Pusher, Bronson, Drive, and Only God Forgives.

Already seein mixed reactions to the Farhadi, similar to the middling-to-positive The Past reception where people knew it was good but felt it was too much of a retread. Still gotta see The Past myself tho

I enjoyed The Past, but after the glowing adoration of A Separation, I'm not that surprised by its more lukewarm reception. It felt much more soap-operatic and coincidental than A Separation.

 

[LeadenStride]

I've seen Pusher, Bronson, Drive, and Only God Forgives.



I enjoyed The Past, but after the glowing adoration of A Separation, I'm not that surprised by its more lukewarm reception. It felt much more soap-operatic and coincidental than A Separation.

Pusher is a rather basic plot-centric crime film, although I still like it. Pusher II is much more of a character study that delves into the mind of Mads Mikkelsen's Tonny. Refn also starts to incorporate some of his signature styles such as heavy lighting that he depends on much more in his recent output. Overall, it's his most complete package as it has style but all the more substance. Drive has much more style, of course, but underneath it has a very average story with a slightly unusual protagonist. It just happens to have the most mainstream appeal, but Pusher II is his true masterpiece, in my opinion.

 

[Wollan]

Wait. The director of Captain Fantastic is Matt Ross aka Gavin Belson (Silicon Valley)??

 

[deadhorse32]

Dolan .. Assayas .. Mungiu on the red carpet tonight

 

[RustyNails]

Lmao has anyone seen how Aishwarya Rai looked with the purple lipstick?

She is being blasted on Twitter and magazines for it

 

[SteveO409]

https://twitter.com/CannesCoverage/status/734445119680700416

The #Cannes2016 Jury Prize goes to AMERICAN HONEY by Andrea Arnold

 

[ViewtifulJC]

the applause of relief when xavier dolan didnt win the Palme lmaoooooooo

 

[Peru]

the applause of relief when xavier dolan didnt win the Palme lmaoooooooo

But then he did

 

[ViewtifulJC]

I need a gif of Mads Mikkelsen''s face reacting to Xavier Dolan's fake tear speech

 

[brianmcdoogle]

I, Sorta Surprised by Brian McDoogle.

 

[berzeli]

The Full list:

Feature Films

Palme d'or
I, Daniel Blake directed by Ken Loach

Grand Prix
Juste la Fin du Monde (It’s Only The End Of The World) directed by Xavier Dolan

Best Director (Ex æquo)
Cristian Mungiu for Bacalaureat (Graduation)
Olivier Assayas for Personal Shopper

Best Screenplay
Asghar Farhadi for Forushande (The Salesman)

Jury Prize
American Honey directed by Andrea Arnold

Best Performance by an Actress
Jaclyn Jose in Ma’Rosa directed by Brillante Mendoza

Best Performance by an Actor
Shahab Hosseini in Forushande (The Salesman) directed by Asghar Farhadi

The Jury of the CST has awarded the Vulcan Award of the Technical Artist to:
Seong-Hie Ryu, for her artistic direction, a great inspiration, for the movie Mademoiselle (The Handmaiden/Agassi) by Park Chan-Wook.

Caméra D’Or

Divines directed by Houda Benyamina presented as part of the Quinzaine des Réalisateurs (Directors' Fortnight)


Short Films

Palme d'or
Timecode directed by Juanjo Gimeznez

Special Mention from the Jury
A Moça Que Dançou Com O Diabo (The Girl Who Danced With the Devil) directed by João Paulo Miranda Maria

Pretty solid list overall, won't listen to the Dolan hate.

 

[Shambalakan]

Congrats to Asghar Farhadi (best screenplay) and Shahab Hoseini (best actor).
Some pics from The Salesman crew:

 

[Peru]

Maren Ade sure seems to have been robbed badly. At least judging by critical reception.

 

[Ridley327]

Maren Ade sure seems to have been robbed badly. At least judging by critical reception.

For reasons I've never much understood, the juries tend to go for films that aren't overwhelmingly received by critics. Maybe they figure that the praise is enough and want to try and highlight not-as acclaimed films.

 

[Peru]

For reasons I've never much understood, the juries tend to go for films that aren't overwhelmingly received by critics. Maybe they figure that the praise is enough and want to try and highlight not-as acclaimed films.

Well they couldn't have picked a more Cannes-acclaimed old codger for the main prize.

 

[Ridley327]

Interesting fact: the nine highest-rated films didn't win an award. Maybe somebody replaced George Miller with Armond White and no one noticed!

 

[Out 1]

Nothing for Ade or Jarmusch...

Correct me if I'm wrong, but is it the first time the Dardennes leave empty-handed?

 

[berzeli]

Interesting fact: the nine highest-rated films didn't win an award. Maybe somebody replaced George Miller with Armond White and no one noticed!

Hey now, no need to get that nasty, and there was at least one critic in tune with the jury:

 

[KAKYBAC]

not that drive is a particularly good script but i have to wonder if he might be better off not writing his own material?

Pusher says otherwise.

 

[overcast]

I've been following closely this year, but can somebody explain to me why something like Dolan's flick got a top prize when it was met with a whole lot of meh?

Side: Can't wait for Paterson.

 

[Peru]

I've been following closely this year, but can somebody explain to me why something like Dolan's flick got a top prize when it was met with a whole lot of meh?

Last five years in particular - who can say they fondly look back on the winning films as the top tier filmmaking of that period?

There have definitely been undeniable modern classics among the 00s winners - like 4 Months, 3 Weeks and 2 Days - but these past few years the juries seem to have operated in their own little bubble.

 

[BaronLundi]

Second palm for Ken Loach... *rolls eyes*

And seeing as I thought Mommy was a far cry from the masterpiece it was supposed to be I'm not optimistic about the new Dolan.

Also nothing for Maren Ade is indeed surprising given the reception.

 

[berzeli]

I've been following closely this year, but can somebody explain to me why something like Dolan's flick got a top prize when it was met with a whole lot of meh?

The jury liked it. The press didn't.
The jury gives the awards, not the press. Well outside of FIPRESCI.

Last five years in particular - who can say they fondly look back on the winning films as the top tier filmmaking of that period?

There have definitely been undeniable modern classics among the 00s winners - like 4 Months, 3 Weeks and 2 Days - but these past few years the juries seem to have operated in their own little bubble.

Still bitter about The Assassin?

Also nothing for Maren Ade is indeed surprising given the reception.

It (unsurprisingly) got the FIPRESCI since that one is awarded by critics. Not that most people pay attention to that one. Sort of like the Ecumenical Jury prize (which also ended up with Dolan).