Which Cannes hits will win in theatres?

26 May 2015 | Author: | No comments yet »

Cannes ends in a shocker: ‘Dheepan’ wins Palme d’Or.

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—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.CANNES: A French thriller spotlighting the plight of traumatized refugees building new lives, “Dheepan,” captured the Cannes Film Festival’s Palme d’Or top As countries around the world grapple with an influx of people fleeing crises, a jury led by American filmmakers Joel and Ethan Coen chose the gritty picture about Sri Lankan asylum-seekers by acclaimed French director Jacques Audiard from a field of 19 international contenders. “To receive a prize from the Coen brothers is something pretty exceptional,” Audiard said after a victory that surprised many critics at cinema’s top showcase.

The harrowing Holocaust drama “Son of Saul” by Hungarian newcomer Laszlo Nemes, offering unflinching depictions of the gas chambers of Auschwitz, claimed the Grand Prize, runner-up for best picture. “The Lobster,” a surreal black comedy about modern love by Greece’s Yorgos Lanthimos and starring Colin Farrell and Rachel Weisz bagged the third-place Jury Prize. 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. Rooney Mara, paired in “Carol” with more hotly tipped co-star Cate Blanchett, split the prize with France’s Emmanuelle Bercot, in a doomed romance, “Mon Roi” (My King).

Recipient of some of the festival’s most impassioned reviews, pro and con, the film was acquired during Cannes by Sony Classics for North American release. “When we emerged from ‘Son of Saul,’ we had a very long moment of reflection and silence,” said jury member Xavier Dolan. “It’s one of those films that slowly grows into you.” “I don’t know that I’ve ever seen anything that was that effective on that subject,” added another juror, actress Sienna Miller. “I thought it was an extraordinary achievement as a first film.” Taiwanese auteur Hou Hsiao-hsien received the festival’s director prize for “The Assassin,” a visually dazzling martial-arts epic set in ninth-century China. 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). Bercot, who had a film she directed, “Standing Tall,” open the Cannes fest, said: “I am thrilled to share this with another actress because it’s a bit too big for me to carry alone.” In a big night for the host country, France’s Vincent Lindon won best actor for his moving turn as a job-seeker standing up for his dignity in “The Measure of a Man.” French Prime Minister Manuel Valls hailed the homegrown winners in a tweet: “French cinema shines tonight in Cannes and out into the world.” President Francois Hollande’s office hailed “Dheepan” for “dealing with virtuosity with the painful subject of Tamils looking to build a future in Europe.” Critic Peter Bradshaw of London’s The Guardian expressed disappointment at the choice of “Dheepan,” saying it was more of a lifetime achievement award for Audiard, who is a Cannes favorite. 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. 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.

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 paillettes and jewels. 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.

Based on the 1952 Patricia Highsmith novel The Price of Salt, the film stars Blanchett and Rooney Mara as two women — one married with a child, the other a mousy shop girl — who are intractably drawn together, but who must cloak their budding romance in disguised gestures and subtle glances. Mexican writer-director Michel Franco received the screenplay award for “Chronic,” his grimly observed English-language portrait of a Los Angeles palliative-care nurse (Tim Roth) dealing with his patients and past tragedies. “This film was born in Cannes,” Franco said onstage, referring to the fact that his 2012 film, “After Lucia,” won the Un Certain Regard prize from a jury presided over by Roth. While the jury spread the wealth around, recognizing films by American, Asian and Latin American helmers, all three Italian-directed titles in competition — Paolo Sorrentino’s “Youth,” Nanni Moretti’s “My Mother” and Matteo Garrone’s “Tale of Tales” — came up visibly empty-handed. 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.

Also look for the tender Pixar tale Inside Out, Cotillard’s empathetic Lady Macbeth and the veteran stars of Paolo Sorrentino’s Youth (Michael Caine and Harvey Keitel) to find some award season attention. An honorary Palme was given to French director Agnes Varda, the first female recipient of the award, which was previously presented to Woody Allen, Clint Eastwood and Bernardo Bertolucci. The Camera d’Or for best first film was awarded to Cesar Augusto Acevedo’s “Land and Shade,” a bleak drama about a Colombian family dwelling in a flame-engulfed farmland. The film proved to be one of the most laureled films of the festival, having already earned the Visionary Prize and the Society of Dramatic Authors and Composers Prize in the Critics’ Week sidebar, where it premiered. Misses included an oversize, shapeless black look by Sonia Rykiel at the “Carol” premiere, and a blush layered gown that some compared to curtains at the “Macbeth” premiere.

But just as the cinematic horror hit It Follows drew raves at the festival last year, The Green Room, by Jeremy Saulnier, should be marked by thriller fans. 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.

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. Denis Villeneuve’s Sicario, about an FBI agent (Emily Blunt) roped into a covert task force sent into Mexico, will also excite many for its sure-handed muscularity. 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. But Son of Soul, Grand Prix winner at Cannes and the first feature by Hungarian director Laszlo Nemes, is something wholly unique: a visceral, bone-chilling, first-person plunge into darkness.

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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