GARY MEYER ON CANNES FILM FESTIVAL, 2007

May 17, 2007

PREVIEWING CANNES 2007

The best way to attend the Cannes Film Festival is to arrive a few days early so you can get settled in your hotel, take care of getting all your accreditations, passes, schedules and catalogs plus do a little planning. Over what might be your only leisurely lunch during the Festival, start going through the hundreds of titles being shown here and try to highlight a selection that really interests you. Everyone here has favorite filmmakers, trends they have been watching and guilty pleasures. Within days the best laid plans will have been turned topsy turvey and our priorities will be very different. But this process allows us to get an overview and a sense of what might be ahead for us.

Juggling the Official catalogue and those for Critics' Week, Director's Fortnight , Un Certain Regard plus several trade magazines jammed with titles screening both in and out of the Festival, I look forward to the new works by numerous directors. Will the Coen Brothers make a big comeback? Can Wong Kar Wai wipe out the memory of his incomplete "2046" of a few years back? What will Europe think of David Fincher's film about the San Francisco Zodiac killings? Will Denys Arcand's followup to the terrific BARBARIAN INVASIONS live up to expectations? How will Hou Hsiao-Hsien fare working in France in French? International directors who have previously made reputations at festivals but not broken through in the American market will try again for wider recognition they hope will bring them distribution and success: Korea's Kim Ki-duk, Germany's controversial Ulrich Seidl, Mexico's outrageous Carlos Reygadas, the Turkish-German Fatih Akin, Bela Tarr from Hungary, Russia's Alexander Sokurov, France's Catherine Breillat, Emir Kusturica from Sarajevo, and the veteran German director Volker Schlondorff will all screen new works. Independent-minded American directors Gus Van Sant, Julian Schnabel, Abel Ferrara and Michael Moore are back. Will they score with critics and audiences? The recent trend of exciting new works from Romania could continue and quite a few Israeli works might signal a turn in that country's recognition. In fact Los Angeles Times film critic Ken Turan stopped me on the street to say he had been given an early screening in L.A. of THE BAND'S VISIT and it is a "Don't Miss.”

And then there are the many restorations and lost films now found. How can I fit in some of those too at their "one time only” showings?

Every time it feels like a schedule for the first few days is making sense, another intriguing title appears, a friend whispers a strong recommendation or active eavesdropping sparks new interests.

I think I am ready for Opening Day of the Cannes Film Festival. A good night's sleep (hopefully) and we are off to see 5 plus movies a day for the next 12 days.

May 18, 2007

CANNES STARTS OFF WITH WINNERS AND LOSERS

The opening gala revealed that Wong Kar Wai has definitely lost the Emperor's new clothes with his first film set in America. The ceremony around this big night takes too long and is boring for those of us jaded by attending Cannes for so many years so I saw the movie at the press screening. But I did watch the red carpet arrivals out front which ranged from many French celebrities to Gong Li, Kerry Washington, Bollywood superstars Abhishek Bachchan and Aishwarya Rai plus the stars of the evening's movie.

As often happens when a director works in English for the first time the delivery of dialogue can be clumsy, especially for first time actress (and usually expressive singer) Norah Jones. Much of the dialogue in MY BLUEBERRY NIGHTS is made up of clichés in this road movie about a young woman who starts out hanging around Jude Law's diner in hopes of seeing her ex boyfriend. Finally she takes off, working her way across country with stops in Memphis, Vegas and LA. As always with Wai, the art direction and cinematography are stunning to look at but they soon become a distraction and eventually their own visual clichés. Oddly he misses the beauty of the places she travels as everything is seen through windows with hand painted signs adding to the design. Jude Law is quite good though his character isn't especially interesting, leaving him little to work with. Natalie Portman is strong as a compulsive gambler who cons Jones out of her limited savings. Rachel Weisz and David Strathairn make the most of their modest appearances. The long hot kiss between Jones and Law had people loving or hating it. This may do some business based on Wai's loyal art house following, the popular Jones and the glamorous casting. Jones does not sing but there is plenty of good pop music and standards on the soundtrack. Pierre Rissient renamed the director "Wrong" Kar Wai but by the time it arrives stateside it may have been reedited by the Weinsteins, for better or worse.

The first full days' films proved to be the usual mixed bag but at least one work is so powerful that it will make the trip here worthwhile if nothing else great appears.

With 4 MONTHS, 3 WEEKS, 2 DAYS Romanian cinema keeps getting stronger. This compelling drama follows two college roommates. One helps the other arrange an abortion in the waning years of communism when the procedure was illegal with major consequences if caught. Not always easy to take, the film is terrific story telling that keeps us connected throughout. There is some humor to balance the generally dour proceedings. Director Cristian Mungui is a name to watch. This is an early candidate for top prizes and though it isn't an easy film for American audiences to support, lets hope it gets a distributor and gains the recognition it deserves. ZODIAC has already opened here but because of its Bay Area setting I was curious to hear the French reaction. Much of it is confusing because the real-life story didn't get the kind of French media coverage that it did at home. It isn't as flashy as director Fincher's FIGHT CLUB, 7EVEN or THE GAME. But the mystery and clever construction kept the audience intrigued. The showing here also resurrected discussions among San Franciscans in Cannes about the unfair portrayal of the late and beloved silent film accompanist Bob Vaughn. CONTROL is a terrific dramatic biopic about Ian Curtis and his 80s punk rock bank Joy Division that was headed for big success when he died young. Strong performances, good writing and effective black and white cinematography result in a compelling film of interest even to those unfamiliar with the group. Curtis' lyrics are pure poetry and powerfully delivered. WATER LILLIES is an impressive first film by Celine Sciamma about the sexual tensions that surprise two school girls on the swim team. This could have gone all wrong but under Sciamma's firm direction the young actresses navigate complex feelings and potentially controversial issues with a sensitivity rarely felt in teen films.

I can't imagine a better way to end the day than with a late night screening of a childhood favorite. Released in the U.S. as THE HORROR OF DRACULA in 1958 when I was ten years old, this was the breakthrough horror film from Hammer Studios that redefined the genre with impressive art direction and gothic set designs, reasonably literate scripts, more than a hint of sexuality and some genuine scares. Not to mention establishing Christopher Lee and Peter Cushing as the new kings of horror. The BFI has done a stunning restoration using the original Technicolor elements. Lee turned 85 this week and it was a pleasure to remember when horror films didn't require tons of gore to shock, though it did encounter censorship problems in England where it was originally rated for "Adults Only" while preteens like me in America flocked to see it.

May 20, 2007

CANNES SELECTIONS JUST GET BETTER

The past two days have brought so many fine films that it is hard to know where to start...well not really since one of the most anticipated films is the Coen Brothers newest, NO COUNTRY FOR OLD MEN based on the novel by Cormac McCarthy. The action starts off fast and furious with Josh Brolin finding a pickup truck, a gang of dead men and a stash of heroin and two million dollars. He takes them of course and the chase is on as various evil characters and the law (embodied by Tommy Lee Jones) set after him. Brolin proves himself to be much underrated and this should bring him deserved attention. But the most memorable character is Javier Bardem's Anton Chigurh, certain to be long remembered as one of the screen's most outrageous bad guys. His weapon of choice is unique and I won't spoil the fun by revealing it here. NO COUNTRY is a fast-paced thriller, playing like a classy B-movie that Quentin Tarantino wished he had made. It is a hybrid western and pulp noir. But then, two-thirds along it slows town to become philosophical, a tone repeated in the end. This follows the book but may throw audiences. It will be interesting to see if reactions at home spark the conversations it has started here.

LA Times critic Ken Turan urged me early to see THE BAND'S VISIT from Israel. And what a great tip for a film that could have gotten lost. A police band from Egypt arrives in Israel to perform at the opening of a new Arabic Cultural Center. But nobody meets them at the airport so they use most of their budget taking a bus to the small town. Upon arriving at a place with nothing more than a collection of high-rise apartment buildings and a café, it is discovered that a mis-pronounced town name has them in the wrong place with no more buses that day. The café owner feeds them and offers to find them places to stay. Distrust between Arabs and Israelis slowly changes in this beautifully played comedy, reminiscent of the best of Czech comedies of the 60s. The lead actress, Ronit Elkabetz (D'OR, LATE MARRIAGE) was the sexiest woman on Cannes screens this week with her deep voice a bonus. She proves to be a fabulous actress and comedienne with wonderful facial expressions. Audiences will love her and the orchestra's conductor, charmingly played by Sasson Gbai. Buzz started and Sony Pictures Classics quickly snapped it up. First time director Eran Kolirn's career is launched. From an uplifting tale of how people might co-exist we move to a controversial look at those who often make our world a less comfortable one. Barbet Schroeder is no stranger to telling stories of frightening real people from Idi Amin to Claus Von Bulow. But with this new documentary, TERROR'S ADVOCATE, he explores the world of Jacques Verges, a lawyer who has represented some of the world's most notorious characters and occasionally heroes (depending on one's point-of-view) from terrorists to dictators, mass murderers and revolutionaries. Extensive interviews with Verges and others are effectively integrated with historical footage to make a compelling (if slightly long 135 min) portrait that is certain to cause discussion wherever it is shown. Verges is alive and well though where he disappeared to for 8 years is still subject to speculation.

Friday night, walking to a screening I passed the outdoor beach screening of a classic: THE UMBRELLAS OF CHERBOURG. What a sight! This gorgeous movie under the stars required a delay in my plans to enjoy the joyous sounds written by Michel Legrand and the wonders of director Jacques Demy's innovative musical.

THE POPE'S CHAIR (EL BAGNO DEL PAPA) is another charmer, rare at serious film festivals. Set in 1988, an announcement that the Pope will visit a small town in Uruguay sets off expectations of riches to be had when 50,000 people should be attracted for the event. It seems everyone decides to sell food and drink, putting their life's savings into preparing for this business opportunity. But where is the Pope? His trip and the masses are diverted and it proves a disaster for those whose belief in religion would satisfy their understandable greed. GARAGE is a low-key drama from director of ADAM AND PAUL with strong performances in the tale of a simple-minded man working a gas station in a small town. When the owner hires his girlfriend's teenage son to work, charges of showing porno and giving booze to a minor cause trouble. The film has humor and subtle power with fine restrained performances. Religion also fails in the second Israeli film to be shown this year, PSALMS (TEHILIM). It is a solid drama of a family coping with the disappearance of a man. Judaism doesn't help them deal with their current reality though they have always been taught that the psalms would provide answers in all situations. Reality proves otherwise for the wife and two sons.

VOYAGE OF THE RED BALLON is a change of pace for Hou Hsiao-Hsien. Inspired by the classic short THE RED BALLOON (coincidentally being sold here in a restored print with Lamorisse's WHITE MANE), the director has not created not a remake. Julliette Binoche is an actress who does voices for sophisticated puppet shows in Paris. Her son at times appears to be followed by a red balloon but has no interaction with its infrequent appearances. Binoche is very good and the leisurely paced film has its charms but has nothing important to say and lacks enough drama to engage most audiences.

They can't all be winners and I admit to only lasting an hour at CALLE SANTA FE, an overlong (163 minutes) talking head doc about a Chilean resistance group in the 1960s. SONGS OF LOVE is an uncomfortable attempt at a musical with bad performances and worse songs performed by people who have no right even trying. The French may eat it up but not me.

But low points are easily forgotten when seeing MAN OF CINEMA: PIERRE RISSIENT. Variety critic and filmmaker Todd McCarthy has spent years creating this loving portrait of French film publicist, raconteur and the ultimate film lover. When Rissient becomes passionate it is infectious and others soon get in line to help champion filmmakers from the obscure to the famous. In the latter category would be Clint Eastwood who was';t taken seriously by most film critics. But Rissient made it his goal to change that and he succeeded. The film is jammed with stories, often hilarious from filmmakers, critics, actors and many others whose lives have been touched by Pierre's passion. At the screening the man himself stated, "You have to always be thinking ahead, challenge what we think we know already and go after those cinematic treasures."

An example of Rissient's work is insisting everyone come to showings of new and classic Korean cinema. Thought lost, BOUND BY CHASTITY RULES (1962) is a Korean period drama exploring generational differences as a scandal is created by a pregnancy outside of marriage while . A terrific surprise found in a 16mm scope print and digitally restored. Some sound problems exist that are slightly distracting but unlikely to be much improved. But that hardly detracts from this fascinating work by the prolific director Shin Sang-Ok who was later kidnapped by North Korea to make movies on orders of Kim Jong-il who wanted to establish a legitimate film industry regardless of what he had to do to accomplish it. A great fest discovery. Thank you Pierre Rissient.

May 21, 2007

IS ANY MOVIE WORTH THIS?

There was hot buzz about actor Gael Garcia Bernal's directorial debut, DEFICIT. A bunch of us decided to attend the premiere at the Critic's Week in the small Espace Miramar. This is a theater furthest along the Croissette of them all. Six of us arrive nearly an hour before showtime to find mobs of star seekers. There are probably ten times more people than the theater can accommodate. Pushing and shoving is the game of the moment and as is often the case, nobody knows which lines are where to accommodate the many different kinds of badges.. We figure out the press line is going away from the beach but there appear to be two other lines merging into us. Some tempers flare as people get nervous they will not get in. The film's scheduled start time comes but there is no movement towards the front door. From the Croissette we hear screams as if Sinatra or Elvis were coming through the crowd. Around the corner comes a mass of bodies, almost forming a many-legged bug. They are surrounding Bernal and soon the security guards push the impatient crowd aside so the entourage can enter the theater. After they are all inside we expect the line will start to move. But no. I decide to go to the front of the line and see what is happening. From what I can piece together via my poor comprehension of French, those who came with the director/star have nearly filled the auditorium. I return to our place halfway back in the line. But I can't find my group. I cruise the line several times before another friend says, "Are you looking for Tom? He and a group were spotted by the producer who escorted them in through the back door. " I've been screwed. I go back towards the front figuring that alone I can figure out a way to get in. Tom calls from inside on his cell phone to apologize but explains the place is jammed and the film is finally starting, nearly an hour late. I look at my schedule and see I can make another film if I hustle. When that show lets out I run into several of the missing friends. They sneaked out of DEFICIT after only 30 minutes...all they could stand. Another case of good luck for me.

I am pleased with my choice. MY BROTHER IS AN ONLY CHILD brings back the writers of THE BEST OF YOUTH for a sentimental story of a family in 1960's Italy. It follows two brothers through years of Italian history with their political and personal lives. Serious problems are balanced with humor and the lead performers bring a wonderful humanity to their characters. It would be unfair to compare it to THE BEST OF YOUTH. Let it stand on its own as a charming film from director Daniele Luchetti.

Ulrich Seidl knows how to create repulsive yet powerful and repulsive situations. With his newest, IMPORT/EXPORT, parallel narratives follow an attractive single mother as she leaves her child in Romania and goes to Austria seeking work that ranges from internet porn to cleaning up in a senior care facility; and a man and his son travel from Austria to Hungary to service and place vending machines. The "adventures" of each result in degrading and repulsive situations and images that would send us streaming out of the cinema if Seidl wasn't such a fine director capable of holding our interest no matter how far over the edge he takes us. There were those who couldn't bear the cumulative impact and at 135 minutes it is a lot to take in. Causing considerable controversy was the question of how the director may have exploited the real-life patients, allowing them to say and do things that they probably wouldn't have agreed to under normal circumstances. Sure to stir conversation. At the press conference Seidl spoke about how far one should go in art: "Basically, there are no limits. Limits are something you set up depending on the situation you are in. You set them up for yourself. As the director, I'm responsible for the people who are working with me, who are being filmed. I have to leave their dignity intact, and I have to know how far I can go....what I demand of them, and when my demands are too much for them. It's my own responsibility, but otherwise, there aren't any limits."

May 22, 2007

CANNES DO

If the films at this year's Cannes Film Festival continue delivering the quality we have experienced up to the midpoint of this annual showcase of world cinema, it will prove to be a remarkable year. Joining 4 MONTHS, 3 WEEKS AND TWO DAYS as one of the best films I expect to see this year is THE DIVING BELL AND THE BUTTERFLY. American artist Julian Schnabel adapts a French autobiography by Jean-Dominique Bauby, an editor of French fashion magazine "Elle." A massive heart attack leaves him paralyzed with a condition known as locked-in syndrome. His only movement is the ability to blink an eye and that becomes his method of communication (and how he "wrote' the book this film is drawn from). Schnabel proves that BASQUIAT and BEFORE NIGHT FALLS were only warm-ups as he has taken a seemingly unfilmable story and made it powerful, inspirational and an entertaining work of art on every level. Helping him accomplish this success was Spielberg's cinematographer Janusz Kaminski who uses very ambitious camera ideas to make the audience feel what Bauby does by shooting from his perspective. Oscar nominations are certain. Schnabel fought to make it in French and the artist made the correct choice. At one point Johnny Depp was to star since he speaks French fluently. But his pirate movies conflicted and we are the lucky winners as Mathieu Amalric delivers a stunning portrait. I have no doubt Depp would have been excellent but we all know him and that would have been a distraction in believing the reality. Schnabel explained to me that when Bauby understood what had happened he later communicated that he felt he was the luckiest man in the world because he was able to live two very different lives.

At the press conference lead actor discussed how he approached the adaptation: "I wondered how a film of this book could be made. When I met Julian Schnabel, I immediately sensed his need to direct the film. I said to myself, maybe there's some way we can avoid being crooks and exploiting someone's misfortune. I understood that it was possible. Besides, I saw how Julian was working with the script: we weren't just coloring in the pictures, on the set; we were going to invent more. The more I think about it, the more I realize one didn't necessarily have to be an actor for this film, just a human being."

This is must-see cinema.

But the day had only begun. BLIND MOUNTAIN tells of an attractive young woman who is offered a job in a remote Chinese village. Instead she is kidnapped, drugged, and sold into marriage. Huang Lu gives a stirring performance as the unwitting bride whose increasingly desperate and ingenious attempts to escape pit her against a corrupt community and its government enablers. Controversial Chinese filmmaker Li Yang was inspired by the horrific reality of human trafficking for this riveting thriller. The woman's continued attempts to escape have the audience praying for her success. While the ending is far from a happy one, it had a hardened Cannes audience on their feet cheering. Gus Vant Sant is back in top form with his modestly budgeted but ambitious youth mystery, PARANOID PARK. A teenage skater jumps on a rain for a thrill. A guard tries to get him off the train and the boy accidentally knocks him down and to his death when hit by another train. Suspense and an intriguing dilemma confront the audiences as we feel the film's protagonist torn about what he should say and do. Volker Schlöndorff travels to new territories in ULZHAN. A mysterious force seems to be drawing a man East. Charles' car breaks down in Kazakhstan but he feels compelled to continue on foot. He loses all material goods but is curiously happy for the first time in his life wandering the vast steppes of Central Asia. When he decides to buy a horse he is directed to a beautiful woman, Ulzhan, with whom much of the journey continues. Stunningly photographed, the film weaves myth, magic and mystery. A very different exotic locale is the setting for CARAMEL, a seriocomic film focusing on five women in a beauty salon in Beirut. Their stories of life, love and family are nothing new but they feel fresh as we hear comments that are surprisingly feminist coming from Lebanese women.

I have long read about HONDO. Held by John Wayne's estate, this was the star's only

3-D movie and it was mostly released "flat" in 1953, coming at the end of the short-lived trend. It has been restored (digitally) and proves to be an entertaining formula western directed by John Farrow. The western vistas look great in 3-D and thankfully there are just the right amount of the expected arrows and spears coming at us. This would be great fun shown outdoors.

After my last film I was invited to join a group of friends including TERROR'S ADVOCATE director Barbet Schroeder for dinner. There are dozens of restaurants with outdoor seating, jammed with people hoping to be seen or to see those wanting to be seen. Barbet is locally recognizable, but he isn't likely to be bothered though many associates stop by to offer their congratulations on his latest film. It is an enjoyable meal of fresh fish beautifully prepared here on the French Riviera. As we are finishing I hear music coming from the Palais. There are often appropriate soundtracks played through their amazing sound system but this sounded even better than usual. Maybe it was live. I walked two blocks to discover that the Irish rock group U2 was giving a concert on the steps of the Palais. Bono sang and the crowd was thrilled as he started singing "Vertigo.". They sounded great and could be seen projected on the giant video screens around the plaza. Before their final song he pointed to the ocean and said, "I slept on that beach lots of times!" And then they wrapped with "Where The Streets Have No Name."

I was in the mood and joined the crowd inside to experience an hour of the new concert film U2-3D, a work-in-progress screening. Between the incredible sound in the Palais and a stunning new 3-D process, we felt as if we were at the concerts filmed in Latin America. When people in those audiences lit matches and lighters, in 3-D, so did audience members around me for a memorable moment. Two three-dimensional experiences in one day and this was a nice way to end the evening.

May 24, 2007

THE GOOD AND THE BAD IN CANNES

Another feather in the Cannes Film Festival's cap today with the animated feature film PERSEPOLIS. Marjane Satrapi has joined Vincent Paronnaud to adapt her graphic novels into a sophisticated cartoon. Based on the creator's own life, "Marji" observes events through teen eyes as her idealistic family dreams of the hated Shah's defeat in the Iranian Revolution of 1979. However as she grows up, she witnesses how the new Iran, now ruled by Islamic fundamentalists, has become repressive on its own. She refuses to remain silent about this injustice and her parents send her abroad to Vienna to study for a better life. However, this change proves an equally difficult trial with the young woman finding herself in a different culture loaded with abrasive characters and profound disappointments that deeply trouble her. Upon returning home home, Marji finds that both she and her homeland have changed so much that she and her beloved family must decide where she truly belongs. A very different movie about a woman searching is ALEXANDRA. Director Alexander Sokurov returns with an accessible and powerful story of a woman who travels to Kosovo to observe the conditions her grandson lives in while fighting the war. She wanders the camp meeting soldiers as well as visiting the local markets and residents. It is simple and compelling with an unexpected great performance by opera star Galina Vishnevskaya. Shot in muted colors, almost monochromatic, it is unlike RUSSIAN ARK and closer to his dramas like THE SUN and MOTHER AND SON.

Two terrific films will have to be satisfactory because the rest of what I saw yesterday disappointed . EDGE OF HEAVEN is an eagerly awaited new film by Fatih Akin, an interesting Turkish filmmaker working in Germany. He follows his hit HEAD-ON with a well-made but disappointing drama of a German woman whose Turkish girlfriend is imprisoned for terrorist activities while, in a separate but related story a German college professor seeks the missing daughter of a prostitute his father accidentally kills. These two stories are meant to come together but too many coincidences and too little logic rob it of being the compelling work it sets out to be. Many people loved it but the film can't stand up to close analysis. The first third works but once the two women meet it had too many plot problems to win me over. PLEASURE FACTORY is a boring and poorly made HD film about Singapore's prostitution scene. Bela Tarr starts his MAN FROM LONDON with a stunning opening but it soon becomes clear this film is going nowhere. There are fans of this work but I am not one of them.

Two films I had to take peeks at because of their bizarre titles were only worth about 20 minutes each but I savor those names: FOREIGN DUCK, NATIVE DUCK AND GOD IN A COIN LOCKER. And FUNUKE SHOW SOME LOVE YOU LOSERS!

May 25, 2007

It's Not The Vision I Had

I have mostly stopped attending Cannes Film Festival parties. The food seems to be all catered by the same company and soon one gets tired of crudities dipped in creamy sauces, frozen shrimp and little pastries. The real reason to attend these events, of which dozens are held each night, is to network. You'll see people you know and others you'd like to meet. And inevitably there will be filmmakers who you'd rather not see because you didn't like a movie they made and they can't accept "no" for an answer. The finger food gets one through the next film or two.

But there are spectacular parties usually at a beach connected with one of the top hotels, on a yacht in the bay or at a villa in the hills above Cannes. The food will be several notches better, live music and celebrities can be expected, and invitations are in high demand. "The Hollywood Reporter" uses a martini glass rating system to report these parties the next day. After the hundreds of thousands of dollars spent on these extravaganzas, it must be pretty devastating to get 1-½ martini glasses. Last year's MARIE ANTOINETTE party was an exception and a highlight of 2006 on the French Riviera that I wrote about with enthusiasm.

In 2001 I was invited to another of the most memorable parties in recent Cannes history. A canvas pouch with parchment invitation, a hobbit pipe and other goodies had been delivered to my hotel. A screening of 20 minutes from the first THE LORD OF THE RINGS was shown early in the day. The assembled press and distributors were impressed. Our concerns about what the trilogy might be were assuaged. And that night buses took us up winding roads to a castle. Some actual Hobbit houses and other props had been brought from New Zealand. Actors from the film and models in costume mixed among us while we ate and drank nearly until the sun was rising.

This year when a fancy invitation from the same production company/distributor, New Line, arrived inviting me to a party for their newest movie THE GOLDEN COMPASS based on a series of popular fantasy books, I cleared my calendar. It meant no late night movie as these parties generally start around 10pm. The time came to board a bus filled with other anxious attendees. Up a winding road and finally we were dropped off at a large gated villa. A red carpet at the entrance and dry ice smoke set the atmosphere that led to the magnificent garden of the Rothschild mansion. Surrounding the house were several bars, seafood tables with rather tasteless "fruits de mer" on ice, a huge dance floor, a bear ice sculpture, giant balloons promoting THE GOLDEN COMPASS and images from the film being projected on the house. It seems that stars Daniel Craig, Eva Green and Dakota Blue Richards had come and departed as quickly as possible. Since this was also celebrating New Line's 40th Anniversary, other famous faces were expected. They may have been there in the VIP area. With a special access pass one couldn't get inside the building, now home to a library. People were leaving the party in droves unless they wanted to dance. . .and I chose to head home.

These parties are intended to generate publicity and good feelings about the movies they promote. This didn't do it. The publicity stunt that has generated the most buzz so far happened earlier in the festival when Jerry Seinfeld, dressed as a large bumblebee, flew down a wire from the top of the Carlton Hotel to the beach on behalf of his BEE MOVIE. Not since the Salkind's buzzed the beach with their SUPERMAN banners in 1974. . .. . .

To get an idea of the scheduled bigger parties, check out Nikki Finke's www.deadlinehollywooddaily.com.

May 27, 2007

The End Is Near

Things are winding down with only a few days left at this year's Cannes Film Festival. The general consensus is that it is one of the best in memory featuring an abundance of terrific movies. With fewer films screenings in the Marche during the final days, it is easier to choose what films to see, though there is still enough fill my schedule. It also allows me to catch a few films missed earlier and to attend a private screening.

WE OWN THE NIGHT was riding high on expectations. Though director James Gray's previous films, LITTLE ODESSA and THE YARDS earned fairly good reviews and mediocre box office, this new film was thought certain to work. It boosts a terrific cast featuring Joaqiun Phoenix, Mark Walhberg, Eva Mendes and Robert Duvall in a story about a young club owner who must hide the fact that his father and brother are hot shots in the police department. His involvement with the Russian Mafia's drug scene and their ruthless methods to keep things in their favor threaten the status quo and loyalties are challenged. You can see what is coming early on but keep hoping it will have surprises. Sadly WE OWN THE NIGHT plays more like a flashy TV show with a mixture of good and over-the-top performances. Sony has snapped up rights to the film and can market it for a few fast bucks before a solid run on DVD and cable.

But things got much better with SECRET SUNSHINE from Korea. Lee Chang-Dong is largely unknown in the U.S. (though with a little effort you can find his fine previous feature OASIS). An amazing performance by Do-Yeon Jeon as a young widow who moves to her late husband's hometown with her son where things look promising for starting a new life. She teaches piano and her small son adjusts well to his new school and she meets a man who pursues her. But we are soon as devastated at a horrifying turn as the mother. She looks to Christianity for guidance and support, at first with success and then disappointment. During her search further twists add to this fine thriller.

Sometimes we get invited to a private screening outside of the Festival and not open to Market buyers. These occur in addition to the nearly 900 movies screened for buyers, many of whom never even see an Official Festival film.

I liked Anand Tucker's first two films, HILARY & JACKIE and SHOPGIRL, and as a producer his GIRL WITH A PEARL EARRING was terrific. He introduced the screening with self-deprecating comments apologizing for the last time he did this which resulted in some nervous laughter. He may have been referring to SHOPGIRL which got mixed reviews, or maybe something had happened in Cannes previously that was an inside joke for some in the audience. It was rather odd but once his newest, AND WHEN WAS THE LAST TIME YOU SAW YOUR FATHER started to play, we knew we were in good hands. A man (Colin Firth) must face the impending death of his father (Jim Broadbent), delaying discussing issues he has carried through his life. Flashbacks provide us an understanding of their relationship. Juliet Stevenson adds to the powerhouse of fine acting in this sensitively written drama that most can relate to as it avoids the clichés expected from such a story.

Film festivals inevitably have more serious films than comedies. It is just the ways things flow. But a definite exception this year is YOU, THE LIVING, the new film from Swedish commercials director Roy Andersson whose three previous features have been treats. But they are rare. His last, SONGS FROM THE SECOND FLOOR was back in 2000. According to Andersson this film is "an exploration on the grandeur of existence." It moves from one character to the next in a series of 50 short sketches centered around the lives of a series of characters including an overweight woman, a disgruntled psychiatrist, a heart broken groupie, a carpenter, a business consultant, and an elementary school teacher with emotional issues. Each story is shot in a single take, some comic and others tragicomic. There are big laughs, subtle chuckles and a few tears in a work that could be considered a tribute to Jacques Tati with a structure possibly inspired by the idea of Rube Goldberg weaving a story not unlike his comic inventions.

Israeli writer Etgar Keret has a growing following internationally and especially in America for his offbeat comic short stories. Collaborating with his wife Shira Geffen they have brought much of this humor to the film JELLYFISH, a marvelously inventive work weaving three seemingly unrelated stories in Tel Aviv: a groom and his bride, an aimless young woman and a mysterious child, a Filipino caregiver and her cranky charge. Their paths do cross. This team co-wrote and directed an Israeli movie with none of the usual political overtones and it is a joy.

Catherine Breillat has directed numerous controversial dramas, usually with a substantial amount of sex and nudity. Some, like 36 FILLETTE and FAT GIRL, have succeeded as provocative entertainments. Others, like her last film ANATOMY OF HELL, seem made to shock at the expense of an involving narrative. Thus is a pleasure to see her newest, THE LAST MISTRESS. Starring the popular cult actress Asia Argento and handsome Fu'ad Ait Aatou as two lovers, Vellini and Ryno de Marigny in 19th century Paris who have been passionately involved for nearly a decade. But he attempts to end their relationship now that he is engaged to Hermangarde (Roxane Mesquida), a respectable young woman. As the bride-to-be's grandmother forces de Marigny to confront his past as a notorious womanizer, the film flashes back to reveal the intense decade the lovers shared. Although de Marigny appears to want to shut Vellini out forever, her passions may be far too much for him to deny. There is plenty of sex so Breillat and Argento's fans won't be disappointed but this is also a classy French drama.

Phillipe Halsman's images were on more covers of LIFE magazine than any other photographer. He is probably best known for his series of celebrities jumping into the air for his camera (and coincidently the inspiration for this year's Cannes poster). JUMP dramatizes a period before he left for America. Halsman was accused of murdering his father and at the trial he faced anti-Semitic judges, lawyers and jury. Patrick Swayze as his attorney does a decent job but it is hard to take him seriously despite his sincerity. MARK OF CAIN is a powerful drama of young Brits fighting in the Iraq War who find themselves involved in torture and sexual abuse of prisoners. When they return home horrifying photos of their activities are made public; they must make a decision to tell the truth in court, betraying their fellow soldiers, especially their superiors who encouraged it. . .or lie as the Army claims they are "rotten apples." Strong in all aspects, this is compelling fiction deserving of good reviews though audiences may have little interest in reliving these kinds of stories. MUNYURANGABO is a powerful story of two young men, one Hutu and one Tutsi, on a journey through Rwanda's haunted countryside in hopes of finding work. When they stop in the village where Sangwa's parents live his father becomes mad at him for disappearing for three years. Hoping to gain back the affection of his family, Sangwa takes a local job. But his friend has secret reasons for making this trip. . .to take revenge on the man who murdered his father. The two boys are must face the traditionally held tensions between their tribes. A Korean director, Lee Isaac Chung has made an impressive debut with this powerful work. Nicolas Philibert is a documentarian whose work is visual poetry. His subjects have included a rural French school, a psychiatric clinic, and the experiences of being deaf. With RETURN TO NORMANDY Philibert returns to the village where, as a young assistant to filmmaker René Allio in 1975, they made a little-seen film based on the true story of a peasant who murdered his family in 1835. All the main parts were played by non-professional actors from the very region in which the events took place. Thirty years after the film's release, Philibert takes his camera back to Normandy to learn about the lives of its actors during the intervening years. The results become disturbing as he digs deep. It is an interesting idea but I must admit it was hard for me to become engaged.

May 29, 2007

It's A Wrap.

THE 60th Cannes Film Festival is over. I have seen 52 features and about 30 shorts. As I fly back to San Francisco there a few more reviews to write and my final thoughts on the prizewinners.

With Romanian cinema being held up as the new hotbed of exciting filmmakers for the past few years, I approached CALIFORNIA DREAMIN' with great anticipation. Director Cristian Nemescu made a terrific short last year but was killed in a car accident as he was wrapping this movie. A self-important stationmaster who has not received communications from NATO to clear the train immediately, stops American soldiers assigned to accompany top-secret equipment. The troops are delayed and the town's mayor decides to throw a celebration. The local young women and soldiers pair up and a mixture of drama, comedy and romance add to a story of human understanding with some unpredictable results. Armand Assante stars. Nemescu was not involved in the editing. The movie stretches on at 155 minutes and could be greatly improved with a serious reworking as the story of good and the characters are likeable.

Malcolm McDowell was asked to do a presentation for the Edinburgh Fest about his friend and mentor, director Lindsay Anderson. Working with Michael Kaplan, a publicist and the producer of Anderson's final film THE WHALES OF AUGUST, they created a one man show called NEVER APOLOGIZE. Actor McDowell tells stories of how he was discovered for IF; their subsequent collaborations on O LUCKY MAN & BRITANICA HOSPITAL; various encounters Anderson had with Richard Harris, John Gielgud, Alan Bates, Rachel Roberts, Bette Davis, Lillian Gish and others plus a touching account of his last visit with John Ford (whom he had written a book about). The stories are often fascinating and McDowell is a good storyteller and impressionist. But NEVER APOLOGIZE rambles for too long and lacks a much-needed structure. The filming is sloppy and the editing distracting. This would probably be much better in-person but as a record it will find play at Anderson and McDowell tributes and on home video and cable. The closing night film held great promise. AGE OF INNOCENCE is Denys Arcand's follow-up to BARABARIAN INVASIONS. But the film, while often funny is a surprisingly sophomoric comedy of a man worried that his sexual prowess might be lost in his middle-aged life. Filled with daydreams intended to surprise the viewer, he delivers cheap laughs more appropriate in a teen comedy. I have no doubt the closing night audience, exhausted from the lengthy awards ceremony, sat back and enjoyed but the press screening crowd had little patience.

Throughout the Festival, Official screenings were preceded by a series of shorts created by 35 internationally respected directors. To celebrate Cannes' 60th Anniversary, Fest Director Gilles Jacob asked favorite Cannes filmmakers to make a short film, 3 minutes and no longer, that reflected their state of mind about the movie theater experience today. As would be expected they ranged from terrific to disappointing but the percentage of quality was surprisingly high, though many reflect a sad state of affairs for cinemas in much of the world. All the shorts were gathered into a feature-length compilation called TO EACH HIS OWN CINEMA (CHACUN SON CINEMA) that was also for sale on DVD at the end of the Festival. Directors participating include Theo Angelopoulos, Olivier Assayas, Bille August, Jane Campion, Youssef Chahine, Chen Kaige, Michael Cimino, Ethan & Joel Coen, David Cronenberg, Jean Pierre & Luc Dardenne, Manoel De Oliveira, Raymond Depardon, Atom Egoyan, Amos Gitai, Hou Hsiao Hsien, Alejandro Gonzalez Inarritu, Aki Kaurismaki, Abbas Kiarostami, Takeshi Kitano, Andrei Konchalovsky, Claude Lelouch, Ken Loach, Nanni Moretti, Roman Polanski, Raul Ruiz, Walter Salles, Elia Suleiman, Tsai Ming-Liang, Gus Van Sant, Lars von Trier, Wim Wenders, Wong Kar Wai, Zhang Yimou. It is an impressive group and a collection worth owning if you love going to the movies.

And The Winners Are. . .

This year's Cannes Jury had a fine collection of movies to provide awards to and the response to their choices has been very good. Cristian Mungiu's Romanian drama about two students suffering the impact of an illegal abortion, 4 MONTHS, 3 WEEKS AND 2 DAYS won the top prize, the Palme D'Or. After receiving his prize from Jane Fonda (below), Mungui told the audience, "It seems like a fairy tale. One year ago we didn't have any idea about this project and some six months ago, we didn't have any money to make it, and finally we were just hoping to be in Cannes in any kind of competition." As if to inspire others, he added, "This award that I'm getting now is going to be of good use for small filmmakers in small countries everywhere, because it looks like you don't necessarily need a big budget and a lot of stars to have your story heard."

I did not see the runner up, Naomi Kawase's THE MOURNING FOREST, reported to be a beautifully shot and emotionally felt drama that requires considerable patience. The Jury Prize was split between the wonderful animated film PERSEPOLIS and Carlos Reygadas's highly regarded but difficult SILENT LIGHT.

One of the films often discussed as a serious Palme D'Or contender was Fatih Akin's THE EDGE OF HEAVEN that received Best Screenplay instead.

Actress Michelle Yeoh presented the Best Director Award to American Julian Schnabel for the French-made THE DIVING BELL AND THE BUTTERFLY. The winner specifically thanked the actresses in his film as part of his lengthy acceptance speech. "As I came up, I wanted to start singing ‘Thank goodness for little girls, they grow up. . .' and I did, because I thought I was making a movie about a paralyzed guy but I realized I was making a film about women."

Jeon Do-yeon's stunning performance as a young widow in SECRET SUNSHINE was chosen Best Actress. Veteran Russian stage actor Konstantin Lavronenko, who plays a troubled husband in THE BANISHMENT won Best Actor award.

Gus Van Sant was given a Special 60th Anniversary Award for his PARANOID PARK (above with Stephan Frears) and the strong Mexican short WATCHING IT RAIN earned Elisa Miller the Palme d'Or for Short Film.

Other awards included Camera d'Or for First Film to JELLYFISH and Honorable Mention for CONTROL.

The "Un Certain Regard" section gave prizes to CALIFORNIA DREAMIN', ACTRESS and THE BAND'S VISIT.

Numerous other awards were given out in various categories with multiple wins for 4 MONTHS, THE BAND'S VISIT, JELLYFISH, THE EDGE OF HEAVEN and CONTROL.

And finally, my personal award for Best Title goes to the always creative Troma Films for their upcoming POULTRYGEIST, NIGHT OF THE DEAD CHICKEN. In the best tradition of exploitation showmanship young performers created outrageous street theater to promote the horror spoof and this not-yet-completed movie garnered more media attention than most films in the Festival.

This balance of art and commerce is part of what makes the Cannes Film Festival an annual event so many of us mark on our calendars as "Can't Miss." We moan about having to go when friends tell us how lucky we are to be attending. We complain throughout the festival about jetlag, no time for decent meals, making deadlines, dealing with security guards and sitting (or sleeping) through bad movies. And then we experience a great year like this one and it is worth every minute.

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