The movies that will keep buzzing after Cannes

25 May 2015 | Author: | No comments yet »

Cannes 2015: 8 buzzworthy films we’re excited to see.

For 12 days, major Hollywood actresses such as Marion Cotillard, Emily Blunt, Naomi Watts and Sienna Miller graced the film festival’s red carpet in clothes designed by the world’s greatest. CANNES, France (AP) — The Cannes Film Festival is a grand hierarchy with strictly defined elevations of movies and media access, where films are met by high praise or lowly boos.

What’s it like to be part of the jury at Cannes? “I was making love to cinema all day,” said Spanish actress Rossy de Palma, part of the nine-member jury that gave the festival’s top prize, the Palme d’Or, to Dheepan, a film about Sri Lankan immigrants in France, directed by Jacques Audiard. Quebec’s Xavier Dolan was less succinct but just as moved. “I have never experienced something like that,” said the 26-year-old actor and director, who will leave Cannes tomorrow to start work on his next film. “It will change me as a human being, reflecting on what movies are, what a director wants to tell you. Here are eight films that have piqued my interest from the 68th Cannes fest, which wrapped up Sunday: Quentin Tarantino, the Tennessee Terror, managed to stir up attention with just a sneak peek at Cannes. Sri Lankan government spokesman Rajitha Senaratne said the award could draw international attention to the new administration’s efforts at reconcilation with Tamils following the war that ended in 2009. “The movie talks about a situation (in Sri Lanka) decades ago.

Woman’s footwear, of all things, was thrust to the forefront of Cannes after several women were turned away from a premiere because they weren’t wearing high heels but flats. Though as Ethan noted, “you can’t give the prize to every movie or indeed any prize to some movies.” There had been much speculation that Carole, Todd Haynes’ film about a lesbian love story, based on Patricia Highsmith’s 1952 novel The Price of Salt, would take the Palme.

It is very different now,” Senaratne, who is also the health minister, told AFP. “I am glad that the Tigers’ use of child soldiers has come to light,“ Senaratne said. “With the publicity from this movie, I expect more interest in our reconciliation efforts.” The film’s lead actor, Anthonythasan Jesuthasan, himself a former Tamil Tiger child soldier who escaped the fighting and secured asylum in France over two decades ago, has said his character, Dheepan, was about “50 percent“ autobiographical. In the end it won half a prize when the jury named Rooney Mara from that film and Emmanuelle Bercot, who stars in Mon Roi, as co-recipients of the best actress prize. At elections in January, President Maithripala Sirisena unseated strongman Mahinda Rajapakse, who drew international condemnation for his refusal to investigate the alleged abuses.

Garrn, alongside a ravishing Jourdan Dunn in black Ralph & Russo couture, upstaged the film’s bigger star, Marion Cotillard, who wore a powder blue Dior that creased clumsily at the midriff. But what will stick in the mind from the festival, which closed Sunday with Jacques Audiard’s refugee tale “Dheepan” winning the Palme d’Or, likely won’t be the many panels about women in film, but the plethora of powerful leading performances by women, including Cate Blanchett (the sumptuous period romance “Carol”), Emily Blunt (the bleak drug war thriller “Sicario”), Marion Cotillard (a bleakly stylish “Macbeth”), Margherita Buy (the moving tribute “My Mother”), Emmanuelle Bercot (the up-and-down romance “My King”) and Charlize Theron (the explosive “Mad Max: Fury Road”).

During his decade-long rule, Rajapakse had branded war-themed local productions “unpatriotic” because they allegedly portrayed security forces in a poor light. It was not Cotillard’s strongest year in the fashion parade — but the Dior brand ambassador fared well in a blue-and-rose truncated minidress from Dior’s haute couture spring-summer 2015 collection at the premiere of director Justin Kurzel’s “Macbeth.” She sparkled alongside co-star Michael Fassbender, thanks to the outfit’s myriad of embroidered pailettes and jewels. Though summer blockbusters usually only supply the festival a flashy red carpet distraction, George Miller’s “Mad Max” sequel-reboot was perhaps the most lauded film in Cannes, rivaled only by a far more serious sensation: “Son of Saul,” a tracking close-up of a Sonderkommando at Auschwitz who believes he’s spotted his son in the camp’s gas chamber. The Oscar-winner, who’s known for her fashion-forward style, bucked the trend for classical va-va-voom and voluminous dresses that were popular this year at Cannes. Another model with style success was Lara Stone who turned up for the “Youth” premiere in a sexy, granite Atelier Versace couture dress with a V-neck cut.

The Jury Prize, or third place, went to Yorgos Lanthimos and his new film, The Lobster, a bizarre tale about a future society in which people are forced to find love or be turned into animals. Hou Hsiao-Hsien won the best director prize for The Assassin, a remarkably quiet martial arts movie that galvanized critics in spite of its slow pace and obscure plot. (One reporter tried to suggest that perhaps the jury hadn’t understood the film, a notion quickly rebuffed by the Coens.) The best screenplay prize was given to Mexican director Michel Franco for Chronic, a film that stars Tim Roth as a nurse who cares for terminally ill patients. Jury member Miller had a cinematic comeback this year — after roles in “American Sniper” and “Foxcatcher” — but it was an off year for her on the Cannes red carpet.

Misses included an oversize, shapeless black look by Sonia Rykiel at the “Carol” premiere, and a beige layered gown that some compared to curtains at the “MacBeth” premiere. Given that Allen is such a hardcore New Yorker, I find it astonishing he even knows where Rhode Island is — but somehow managed to film there with Joaquin Phoenix, Emma Stone and Parker Posey. In his second film following the lean revenge film “Blue Ruin,” Saulnier steps confidently into a bigger production, co-starring Patrick Stewart, about a touring hardcore punk band that runs into trouble at a backwoods gig for Neo-Nazi skinheads. Denis Villeneuve’s “Sicario,” about an FBI agent (Blunt) roped into a covert task force sent into Mexico, will also excite many for its sure-handed muscularity.

But the Jerusalem-born actress has guts and eagerly entered the Middle East political debate by filming (and starring in) a drama set in her birth city. But she appeared later in a dubious black gown by Peter Pilotto that had an uneven skirt at “The Sea of Trees.” Natalie Portman’s directorial debut “A Tale of Love and Darkness” did not fare well with critics, nor did the rather mature-looking, limp Rodarte dress she wore to the film’s photo call. The film is based on Amos Oz’s memoir of growing up amid the turmoil of the founding of Israel, with Oz controversially endorsing a two-state solution to the conflict between Israel and the Palestinian people. Actress Charlotte Vandermeersch raised eyebrows on the red carpet for her “The Little Prince” outfit, a mismatched ensemble of bright blue pants and a black top. A harrowing Holocaust drama set among the Jewish workers of a concentration camp is precisely the kind of film many feel obligated to see, rather than enthusiastic to watch.

But no major film at Cannes 2015 has generated the universal negative reaction that this suicide-themed drama has — and that just makes me curious to see it. But “Son of Soul,” the first feature by Hungarian director Laszlo Nemes, is something wholly unique: a visceral, bone-chilling, first-person plunge into darkness. “The Lobster” and “Tale of Tales” — two films bound by a wry surrealism and John C. In Yorgos Lanthimos’s “The Lobster,” middle-aged, unmarried singles (Colin Farrell, Rachel Weisz, Reilly) gather at a remote Irish hotel where, if they don’t couple up, they’re turned into an animal.

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