Alain Guiraudie was named best director in the Un Certain Regard sidebar at last month’s Cannes Film Festival for his roundly-lauded thriller L’Inconnu Du Lac (Stranger By The Lake). During the festival, the sexually explicit gay-themed tale of summer love and murder was picked up by Strand Releasing for a U.S. release later this year. But on the eve of its release in France, where expressions of sexuality are de rigueur and where gay marriage was recently legalized, the film’s advertising (left) proved too much for some. In the Parisian suburbs of Versailles and Saint-Cloud, a series of promotional posters was pulled at the request of the individual town halls, ad agency JC Decaux told AFP. The mayor’s office in Saint-Cloud said it had been “harassed” by phone calls and emails about the poster since it went up last week. Versailles says it did not contact JC Decaux, but a rep told French media it was understandable that the image “could shock people who find themselves disarmed by posters in the street that address sexuality.”
The late film critic Roger Ebert and award-winning Fruitvale Station director Ryan Coogler were the honorees at last night’s third annual Celebrate Sundance Institute event at The Lot in Hollywood. Ebert’s widow Chaz was on hand to accept the Vanguard Leadership Award for her husband, who died April 4 but had hoped to attend in person. The Sundance Institute announced that the Roger Ebert Scholarship For Film Criticism would be established in order to promote ”passionate and articulate aspiring young film critics” in the legendary critic’s memory. Sundance founder Robert Redford presented the award to Chaz Ebert and recounted his own personal connection to Roger. Redford recalled meeting him in 1980, right as the actor-director was starting to formulate plans for the development of the Sundance Lab, even before the Festival was started several years later. Ebert, there as a journalist, was interested in covering the beginnings of the Sundance Lab, which would foster independent film.
Hammond On Cannes: Spielberg And Jury Award France’s Sizzling, Sexy And First Gay Palme d’Or Winner; Is Oscar Next?
Blue Is The Warmest Color (La Vie D’Adele – Chapitre 1 & 2) is only the second purely French film in this most French of festivals to win the Palme d’Or in the past 46 years. The film has had the festival talking ever since its late Thursday night debut and was tipped as a top contender for a prize. This 3-hour sexually explicit drama about a teen’s lesbian love affair proved triumphant tonight, winning perhaps the most coveted prize in cinema next to Oscar. Five years ago The Class was a surprise winner for France’s Laurent Cantet, but you have to go all the way back to 1966 and the iconic Claude LeLouche romantic hit A Man And A Woman for another French director to win the Palme d’Or. It’s a sign of the changing times that this film, starring Lea Seydoux and Adele Exarchopoulos and directed by Abdellatif Kechiche, could actually be called A Woman And A Woman. The jury led by president Steven Spielberg spoke in glowing terms about it as a pure romance and not the first gay-themed movie to ever win top honors here. “For me the film is a great love story, and the fact that it is a great love story that made all of us feel that we were privileged, not embarrassed, to be flies on the wall invited to see this story of deep love and deep heartbreak evolve from the beginning,’ Spielberg said. “We were absolutely spellbound by the brilliance of the …
The 2013 Un Certain Regard prizes were handed out by Thomas Vinterberg’s jury this evening in Cannes. Cambodian director Rithy Panh won the top award for his first-person story The Missing Picture. The Jury Prize was given to the well-liked Omar by Oscar nominee Hany Abu-Assad. Alain Guiraudie won the Directing Prize for the controversial but acclaimed erotic thriller Stranger By The Lake which Strand Releasing picked up this week. The Un Certain Talent award was given to the ensemble of actors from Spanish director Diego Quemada-Diez’ The Golden Cage. And Ryan Coogler’s Fruitvale Station was honored with the Prize of the Future. His film, which won the Grand Jury Prize and Audience Award in Sundance, held a berth in UCR that’s usually reserved for movies that made a name in Park City. Eventual Oscar nominee Benh Zeitlin’s Beasts Of The Southern Wild ran in UCR last year.
Harvey Weinstein Closes Prolific Cannes With Deals For ‘Carol’ And ‘The Young And Prodigious Spivet’
EXCLUSIVE: As the Cannes Film Festival announces the winners of the fest’s competing films, the big winner in the market portion of the festival is Harvey Weinstein, hands down. Weinstein has just closed two more acquisition deals, leaving Cannes with six films under his arm, and another two for his multi-platform arm Radius-TWC. The Weinstein Company has completed a deal for U.S. distribution rights to Carol, a film that shoots in the fall, directed by Far From Heaven helmer Todd Haynes for HanWay Films. TWC has also just completed the acquisition of U.S. rights to The Young And Prodigious Spivet, the 3D film that reunites Weinstein with Amelie helmer Jean-Pierre Jeunet. Carol stars Cate Blanchett and Mia Wasikowska and is based on a Patricia Highsmith novella adapted by Phillis Nagy. It tells the dual stories of two women: a twenty-something woman working in a department store hoping for a better life; and a wife trapped in a loveless marriage, afraid for her daughter if she bolts. Helena Bonham Carter heads the cast of Jeunet’s 3D film, about a 12-year-old cartographer who secretly leaves his family’s ranch in Montana where he lives with his cowboy father and scientist mother, to travel across the country on board a freight train to receive an award at the Smithsonian Institute. CAA brokered the latter deal.
While the pace of buying at the fest by U.S. distributors seemed lackluster most of the way through, Weinstein and …
This turned out to be the first big bidding battle of this year’s Cannes Film Festival, which is now winding down. The Weinstein Company won out after sparking to the seven-minute teaser reel shown to buyers during the fest, outbidding others including Focus Features. Now it will join the distributor’s already bursting awards-season slate that includes Sundance winner Fruitvale Station, August: Osage County with Meryl Streep and Julia Roberts, Long Walk To Freedom with Idris Elba as Nelson Mandela, the Lee Daniels-directed The Butler, Grace Of Monaco with Nicole Kidman, and the Shane Salerno-directed documentary Salinger. Here’s the official release:
CANNES (May 23, 2013) – The Weinstein Company (TWC) announced today from the 2013 Cannes Film Festival that they are acquiring distribution rights in the U.S., Canada, U.K. and Spain to director Stephen Frears’ (HIGH FIDELITY, THE QUEEN) dramedy PHILOMENA. Seven minutes of the film were shown to buyers in Cannes on May 16th, with TWC outbidding a number of other studios vying for rights. Steve Coogan and Jeff Pope penned the screenplay, which is based on the 2009 novel The Lost Child of Philomena Lee by BBC correspondent Martin Sixsmith. The project stars Judi Dench (NOTES ON A SCANDAL, THE BEST EXOTIC MARIGOLD HOTEL) and Coogan (THE TRIP, WHAT MAISIE KNEW) and was produced by Coogan, Tracey Seaward and Gabrielle Tana. Baby Cow’s Henry Normal, BBC Films’ Christine Langan, Pathé’s Francois Ivernel and Cameron McCracken and Magnolia Mae Films’ Carolyn Marks Blackwood executive produced.
The Cannes Film Festival is over for me, and when I come to a place like this, I find myself asking, where are the next stars coming from? Between Fruitvale Station’s Michael B. Jordan and writer-director Ryan Coogler, and Inside Llewyn Davis’ Oscar Isaac, I feel like I got three answers to that question over the course of a weekend.
I come to Cannes primarily to chase deal stories, as I do in Toronto and Sundance. At those other two, the threat of transactions leaves me confined to a hotel room waiting for action. The sporadic action here allowed me see movies and stroll down a rain-soaked Croisette. The drivers here are entirely dangerous in their tiny cars; one driver trying to turn came so close to plowing into my leg that I had to pound his hood with my fist (luckily I didn’t damage my typing finger, which would have cut my output in half). I also made time to see movies including Fruitvale Station, Inside Llewyn Davis, and Behind The Candelabra. While Steven Soderbergh ends the movie-making part of his movie career 24 years after it began here when he won Palme d’Or in 1989 for sex lies & videotape, the road is just beginning for Jordan, Coogler and Isaac. Based on the films I saw here, each has a long drive ahead.
I spoke briefly with Isaac following the Inside Llewyn Davis premiere and jokingly asked him how they possibly could have overlooked him for Les Miserables, given his remarkable singing chops. He seemed jolted for a moment and then smiled as I did, because we both knew this was much, much better. Joel and Ethan Coen created a tour de force folk-singer role for him that any actor with pipes could only dream about. “This might sound cliché, but I feel like I’ve been training 33 years just for this movie,” said the 33-year-old actor. Judging by the talk I overheard between CBS Films and Isaac’s reps about keeping room in his late-year schedule for Oscar-season stumping, Isaac wasn’t overstating the case.
Coogler, meanwhile, is a 27 year old who hails from Oakland, and who got a football scholarship and then went to study film at USC. He found his feature debut in the story of Oscar Grant, the young man whose accidental shooting by roughshod cops atop a train platform created national outrage. Jordan plays Grant and to watch him, Coogler and their cohorts staring wide-eyed at the Cannes premiere crowd at the Palais was charming. A standing ovation must have lasted 10 minutes, and I can’t recall a movie where I saw so many audience members in tears, a remarkable accomplishment since so many absorbed the dialogue through subtitles. Much of the movie’s power is Jordan’s engagingly accessible screen persona, but a lot of credit goes to Coogler. As I and other journos milled around him, I could see Coogler bristle when they put him in the “black filmmaker” category, and it doesn’t surprise me that one reason Harvey Weinstein won Fruitvale Station over other bidders is that he was the only mogul who, when speaking to Coogler, drew parallels to films like The Bicycle Thief, classics Coogler studied in school. Coogler made more right decisions in this movie than is usual for a first-time feature director. His best one: making this a family story and not an angry urban polemic. It makes Oscar’s tragedy relatable to anyone who has abruptly lost a loved one (it hit me like a sledgehammer). As for the Cannes adulation, Coogler was overwhelmed, but applied a lesson learned on the football field when he was a wide receiver. “You constantly remind yourself over and over to concentrate on catching the ball and securing it first, before you try to run with it.” It is all about attention to technique and detail, he said, and he’ll take his time figuring out the next film. It will be something he can make personal, the way he did Fruitvale Station.
Following a relatively new tradition they started a few years ago, The Weinstein Company on Friday night brought together a group of buyers, partners and press to preview its 2013 slate and meet filmmakers and stars. Although Harvey Weinstein never once mentioned the word “Oscar”, you can tell that’s definitely what he is thinking with a diverse mix of prestige projects that should give the awards-happy company lots of campaign fodder for 2013. He said after a rocky start the company has had a very good last four years and for 2012 made more than they ever did at Miramax. He also made a plea to the international audience gathered for the presentation at the Majestic Hotel for the continued independence of European filmmaking, especially in light of problems with the European Cultural Initiative. “We can’t let Europe be the same like the United States. What’s great about European movies is they are different and as long as they reflect their culture there will always be special movies like Amour, which we didn’t release last year, and so many movies like that. So keep your eye on the newspaper when this stuff comes up for votes or things we can do to influence it, I think it’s very important,” he said.
After the 40-minute reel led by the August 16th release The Butler and ending with the long-gestating Mandela: Long Walk To Freedom, Weinstein told me, “It’s a very eclectic, hard-hitting lineup that I am really proud of. What am I going to say? I feel very confident about this year”. Though he may not have been directly making an Oscar-season pitch (thankfully that’s still many months off even for Harvey — well, maybe not), he did make an overt plea for his official competition entries Only God Forgives and The Immigrant when introducing Cannes jury member Nicole Kidman, star of the December 27th release Grace Of Monaco. “We have a member of the jury with us tonight and she has to go for a jury meeting to hopefully decide which movie of mine wins the Palme d’Or. I have certainly given Steven (jury president Spielberg) enough money over the years,” he said to big laughs.
CBS Films has overhauled under Terry Press and Wolfgang Hammer who were named co-presidents about a year ago. At the time, CBS Corp. president and CEO Les Moonves said, “They both possess the ‘roll-up-your-sleeves’ attitude for making, acquiring and marketing quality films for a division that is small in size, but laser-focused on assembling a mix of home-grown productions and acquisitions across a diverse range of genres.” Demonstrating its mettle here in Cannes, the company has the very high-profile Coen brothers movie Inside Llewyn Davis in Competition. It acquired the film in February after a screening on the Sony lot attracted lots of interest and created a competitive situation. CBS spent close to $4M to seal the deal. The movie will be a big part of CBS’ presence in Cannes, but that doesn’t mean the company isn’t looking to buy. It’s releasing about four to six pictures a year and has the flexibility to work across any genre. Although it has never acquired a foreign language film, it’s not out of the question, I’m told. Previous pick-ups include Lasse Hallstrom’s Salmon Fishing In The Yemen, horror hit The Woman In Black and Martin McDonagh’s Seven Psychopaths.
Related: Cannes: Actors To Watch
Cannes buyers had plenty of screenings to choose from today but the hottest movie on the Croisette right now is Philomena — or at least the seven minutes that were shown to buyers this morning. This is the Stephen Frears-directed movie that stars Judi Dench and Steve Coogan and is the true story of an Irish woman who searches for the illegitimate son she gave up for adoption in the U.S. I am hearing that The Weinstein Company is in exclusive negotiations for the pic for U.S., Canada and Spain distribution rights, this after Focus Features stepped out of the bidding. The wild part: the bidding is based on a morning screening of partial footage to domestic buyers, and the action is currently at $6.5 million for a film said to cost around $18 million. That is a shockingly high number for a teaser reel, but everyone I spoke to who saw it was knocked out. The pic is being sold directly by Pathe’s Muriel Sauzay, and a deal could make this evening even as everybody heads off to movies and dinner parties.
CANNES: Hollywood excess hasn’t disappeared entirely from the 66th Festival De Cannes. But it will be limited to a few studios. Warner Bros is bringing Baz Luhrmann’s lush The Great Gatsby to town for opening night and a gala event. Lionsgate is organizing a beach blowout to promote Catching Fire even though it doesn’t release until November. Fox is making a big deal of the 50th anniversary of Cleopatra, partnering with Bulgari jewelers for a reception displaying pieces from Elizabeth Taylor’s personal collection after a screening of the movie’s new restoration. Even the Cannes jury met for the first time last night, rather fittingly, for dinner at the Palme d’Or restaurant in the Martinez Hotel where the chef prepared a meal inspired by jury president Steven Spielberg’s films. And of course, billionaire Paul Allen’s yacht is expected to turn up in the bay with his annual super-exclusive party falling on May 20. But it’s not all champagne and bikinis on the boats. One exec who’s on a monster yacht each year at Cannes tells me it’s a cost-efficient way to do business rather than just a showy splurge. And even though some Cannes parties can cost $3 million, Warner Bros opened its wallets.
One executive calls it ”a victory lap” for The Great Gatsby after grossing way above expectations in North America. Now the studio wants to generate buzz internationally for the film adaptation of this most American of novels. No problem, because the rules state a movie can be released in its own country and still have its international premiere at Cannes. So Warner Bros is using this glitzy platform to open in 49 territories on the weekend including France, UK, Germany, Spain, Italy, Russia and Korea.
The full cast and filmmakers will attend tonight including Leonardo DiCaprio, Carey Mulligan, Tobey Maguire, Joel Edgerton, Isla Fisher, Elizabeth Debicki, Bollywood legend Amitabh Bachchan, producers Lucy Fisher and Doug Wick, and several studio bigwigs led by Warner Bros Pictures chief Jeff Robinov. In 2001 Luhrmann opened the festival with Fox’s Moulin Rouge and one of the most memorable soirées, replete with Can Can girls, trapeze artists and Fat Boy Slim as deejay. The Gatsby after-party will evoke the Roaring 20s with help from partners Samsung, Tiffany, Moët, Brook Brothers and Chivas. There’s a gargantuan structure the size of an airplane hangar set up on a jetty across the port from the Palais where locals are already lining up for the screening Wednesday night. On Thursday night, the Gatsby party structure will be home to a soirée for about 800 locals. This isn’t an official festival event; rather it’s organized by the town each year and Warner Bros agreed to leave up the Gatsby décor for it.
After two years in a row of heavily influencing the Oscar race, the 66th Cannes Film Festival lineup may make it three this year. Certainly I see very long and winding Croisette lines to pick up press or market credentials at the Palais, which is adorned with posters of Paul Newman and Joanne Woodward in a provocative still shot from their fluffy France-set 1963 comedy A New Kind Of Love. One early clue came when the jury was announced, beginning with President Steven Spielberg and including such Oscar winners as Ang Lee, Nicole Kidman and Christoph Waltz. And if it’s not enough to have those icons prominent at this year’s fest, add The Great Gatsby‘s Baz Lurhmann whose film is the opening night event with a gala after-party, and Martin Scorsese who will also be in town for a yacht party announcement of his longtime gestating directorial effort Silence on May 16th. Certainly many of the Cannes contenders both in and out of competition are from Academy Award winners and Cannes veterans back with intriguing films that make up a high profile and potent selection with advance buzz. Competing are the Coen Brothers, Steven Soderbergh, Roman Polanski and Alexander Payne plus a slew of famous names in front of the cameras both on screen and on the Red Carpet this year.
As for the competition and key sidebars, one perennial Cannes question os whether it’s a good idea to ready or even rush a film designed for year-end release in order to play at the Festival in May. Particularly of that means risking negative reviews which can be a real buzz killer. Take, for instance, Payne’s last minute entry Nebraska from Paramount, which almost didn’t appear here. In the initial forecast Deadline posted on March 13, we thought Payne’s film fit in with the auteurist nature of the fest, it’s in black and white, and its filmmaker is quite a favorite in Cannes. (He has had only one film previously in competition – 2002′s About Schmidt – and won no prize, but he not only headed the jury for Un Certain Regard in 2005 but also was a member of the main competition jury last year.) Yet shortly after this prediction I was told Cannes wasn’t in the cards due to Payne’s fondness for long post-production time. He didn’t want to be rushed. Then the studio saw the film about a week before the Cannes deadline and execs urged Payne to put it into the festival. He took Nebraska to Paris to show to Cannes programming honcho Thierry Fremaux with just two days to go before the press conference announcing the 2013 lineup. Now it is one of the most anticipated screenings even though it ooccurs towards the end of the Festival on May 23. Paramount claims it recently had a successful research screening in Pasadena and has dated the film for November 22nd, right in the heart of Oscar season (Payne is a two-time Screenwriting Oscar winner for Sideways and The Descendants).
Conversely there was absolutely no doubt Joel and Ethan Coen would be bringing their latest, the 1960′s-set Greenwich Village folk music tale Inside Llewyn Davis screening on May 19. It is their 8th time around this particular block so they are virtually Cannes regulars. CBS Films won’t release the movie stateside until December 6, another prime Oscar date.
Roman Polanski’s Venus In Fur screening on May 25 on the last day of competition is the adaptation of the Tony-winning Broadway play. It brings Polanski back to Cannes for the first time since winning his only Palme d’Or (for 2003′s The Pianist, which resulted in a Best Director Oscar). It stars his wife Emmanuelle Seigner and Mathieu Almarac and though audiences and critics weren’t too impressed with the last Polanski Broadway play adaptation God Of Carnage, this dramatic work could be more up his alley. There’s also strong interest in French director Arnaud Desplechin’s Jimmy P: Psychotherapy Of A Plains Indian screening May 18 largely due to lead actor Benecio Del Toro’s role as a Blackfoot Indian WWII vet. (But someone’s gotta change that lumbering title.) Cannes watchers also are buzzing about new works from three directors who are no strangers on the Croisette: Nicolas Winding Refn who won Best Director in Cannes for 2011′s Drive and has re-teamed with star Ryan Gosling as a drug smuggler in the May 22nd entry Only God Forgives. (I am told Kristin Scott Thomas steals this one as his mother). And though his films don’t make much noise in theatres, James Gray is a Cannes favorite and back with his fourth competition entry, The Immigrant (formerly called Lowlife) screening May 24th with a starry cast of Marion Cotillard, Joaquin Phoenix and Jeremy Renner. Jim Jarmusch brings his new Vampire story Only Lovers Left Alive which stars the always intriguing Tilda Swinton, Tom Hiddleston and Mia Wasikowska . It has the distinction of being the last film to make the list and the last competition film to be screened: in the 10 PM slot on May 25th.
As always with Cannes there is just too damn much to see with many sidebar competitions like Un Certain Regard, Director’s Fortnight, Critics Week, Cannes Classics and so on. Certainly the opener for Un Certain Regard, Sofia Coppola’s The Bling Ring and Ryan Coogler’s Sundance sensation Fruitvale Station (summer releases stateside) are both screening on the sidebar’s first day of May 16th and are instant must-sees in addition to James Franco’s directorial outing, As I Lay Dying, on May 20th.
Michael B. Jordan (Friday Night Lights) stars in Fruitvale Station as Oscar Grant, the 22-year-old Bay Area man whose fatal 2009 shooting by Oakland BART police sparked outrage and protests against police brutality. The Weinstein Co. nabbed Ryan Coogler’s directorial debut out of Sundance for $2 million before it won the fest’s U.S. Grand Jury Prize and Audience Award. Now the pic’s set for a July 12 release, eyeing awards season. Check out the trailer:
EXCLUSIVE: Following in the footsteps of Beasts Of The Southern Wild or Fruitvale Station, the 13 projects selected today for this June’s Sundance Institute Directors and Screenwriters Labs could end up as Oscar nominees or at Cannes too. The projects’ origins range from the U.S. and the U.K. to Mexico, Peru, Germany and Somalia with the filmmakers’ backgrounds in photography, advertising and documentary not to mention a couple of past BAFTA and Sundance winners. This round of Sundance fellows will work with established filmmakers such as Zero Dark Thirty director Kathryn Bigelow, On The Road director Walter Salles, author/screenwriter Walter Mosley, Oscar nominee Ed Harris and Sundance founder Robert Redford. The Directors Lab runs from May 27 to June 20 at the Sundance Resort in Utah while the Screenwriters Lab goes from June 22 to June 27. (see the full list of the June 2013 Sundance Institute’s Directors and Screenwriters Labs below)
The full lineup announced today for the 2013 Los Angeles Film Festival includes Nat Faxon and Jim Rash’s coming-of-age comedic drama The Way Way Back. The spendy Fox Searchlight pic has been tapped to close the fest, which runs June 13-23 downtown. The Film Independent-sponsored event includes gala presentations for Nicolas Winding Refn’s Ryan Gosling-starrer Only God Forgives and Ryan Googler’s Fruitvale Station, the Weinstein Company’s Sundance pickup that will play the month before in the Un Certain Regard section at Cannes. Pedro Almodovar’s comedy I’m So Excited! was already tapped to open the fest. Here’s the full lineup of more than 200 films, and 22 in the narrative and documentary competition categories, all of which boast world, North American or U.S. premieres:
Anyone who predicts sleeper hits ahead of the summer is either very brave or very spun. But these are the pics expected to emerge through the cracks of tentpole action: All benefit from obvious counterprogramming, festival hype, and demo-targeted storytelling. In chronological order:
– IFC’s Frances Ha has high awareness among its targeted younger-skewing arthouse crowd and exhibitors. “It’s certainly getting talked about in the right places for the audience they’re going for,” one NATO member tells me. Star Greta Gerwig and director Noah Baumbach are indie darlings and scored a talked-about New Yorker piece last week that boosted their profile as a filmmaking couple. According to an IFC Films rep, it’s the sleeper they’re banking on when it releases May 17. “We think we’re going to get great word of mouth,” they tell me.
– CBS Films has two indie pickups budgeted at under $2M each that they’ve slotted into the summer. Sundance pickup Kings Of Summer (formerly Toy’s House) stars three youngsters and has TV stars Alison Brie, Nick Offerman, and Megan Mullally supporting. The studio’s hoping for its Stand By Me-esque story to build momentum with a May 31 limited release. “It’s a movie about discovering in general — which people who see arthouse films spark to,” a studio insider tells me. “And discovery is part of what makes a sleeper hit”. CBS Films is hoping it becomes this year’s Salmon Fishing In The Yemen which was a surprise success for the studio last year.
– Upstart distrib A24 is new to the summer game and has two more youth-skewing pics on tap after scoring a minor youthquake with the sexploitation Spring Breakers in March. The first is Sofia Coppola’s Bling Ring will get a NY-LA limited opening June 14 two weeks after its Cannes premiere.
A lot of the buzz coming into today’s unveiling of the Cannes Film Festival’s 2013 Official Selection was spot on, although there were a handful of curveballs in the mix. One exec said to me after the announcement, “It’s a wise and balanced selection” that deals with the “eternal problem of how you recognize the talent of directors who are in a league of their own and deserve their spot, and how you open up to newcomers.” There’s a blend of the two this year with potentially more to come as further titles will be added once the Directors’ Fortnight and Critics’ Week sidebars announce their lineups Monday and Tuesday. As I noted last week, the studios will have a muted presence in Cannes. Warner Bros is represented with opener The Great Gatsby, and it was confirmed today that Paramount’s Alexander Payne pic Nebraska will run in Competition.
Payne’s black-and-white father/son drama had recently been tipped to head for the fall circuit, but instead fest chief Thierry Frémaux said today that he’d seen it “48 hours ago” and announced its inclusion. FilmNation is handling international. This is Payne’s second time to the big party after 2002’s About Schmidt (although he was in Un Certain Regard as part of omnibus Paris, Je T’Aime in 2006). In a widely expected move, Joel and Ethan Coen’s Inside Llewyn Davis showed up on the Competition roster. They won the Palme d’Or in 1991 for Barton Fink. CBS Films picked up Llewyn Davis in February and StudioCanal, which financed, is selling international.
A reluctant Steven Soderbergh was convinced by Frémaux to move to the Competition with Behind The Candelabra after originally saying he’d prefer another slot. Frémaux remarked today that Soderbergh is known for his particularly laconic emails and after the fest director wrote a diatribe on why he should accept a competition berth, Soderbergh responded by email with a simple “Yes.” It’s a nice bookend for Soderbergh, whose first film, Sex, Lies And Videotape, won the Palme d’Or in 1989 and since he has said Candelabra will be his last film before retirement. The movie debuts on HBO in late May and HBO Enterprises is selling overseas. Two films that were expected for the competition but ended up in official Out of Competition slots are Guillaume Canet’s ensemble drama Blood Ties and J.C. Chandor’s All Is Lost. The latter stars Robert Redford, who Frémaux confirmed would be in Cannes. That pic is getting an October 25 release in the U.S. via Lionsgate and Roadside Attractions.
EXCLUSIVE: Just as his breakout film Fruitvale was announced this morning in the Un Certain Regard category of the upcoming Cannes Film Festival, actor Michael B. Jordan has changed agencies moving from UTA to WME. Jordan plays Oscar Grant in the Ryan Coogler-directed fact-based drama about a troubled young man who tries to remake himself into a responsible citizen for the sake of his child, and who was gunned down by cops on a San Francisco train platform. The film premiered at Sundance, where it won the Grand Jury Price and Audience Award for U.S. Dramatic Film. It was bought there by Harvey Weinstein. TWC has retitled the film Fruitvale Station and will release the film July 26.
Jordan has been doing strong work since he was a kid. That includes the softhearted drug dealer Wallace in HBO’s The Wire and QB Vince Howard on the NBC series Friday Night Lights. He then starred in the Fox sleeper hit Chronicle and returned to TV for a season of the NBC series Parenthood. He recently filmed the comedy Are We Officially Dating?, the Tom Gormican-directed pic that also stars Zac Efron, Miles Teller, Imogen Poots and Mackenzie Davis. Jordan continues to be managed by The Schiff Company and lawyered by Gregory Slewett.
Below are the full lists as of today for the Official Selection titles that will make up the 66th edition of the Cannes Film Festival. There were 1,858 submissions this year, with some even arriving as late as last night, according to fest chief Thierry Frémaux. As per norm, he will add some titles in the coming weeks:
Opening film: The Great Gatsby, dir: Baz Luhrmann
Closing film: Zulu, dir: Jérôme Salle
Only God Forgives, dir: Nicolas Winding-Refn
La Grande Bellezza, dir: Paolo Sorrentino
Behind The Candelabra, Steven Soderbergh
The Immigrant, dir: James Gray
Venus In Fur, dir: Roman Poalnski
Straw Shield, dir: Takashi Miike
Nebraska, dir: Alexander Payne
Jeune Et Jolie, dir: Francois Ozon
The Past, dir: Asghar Farhadi
Inside Llewyn Davis, dir: Joel & Ethan Coen
Jimmy P., dir: Arnaud Desplechin
Heli, dir: Amat Escalante
Grisgris, dir: Mahamat-Saleh Haroun
Like Father Like Son, dir: Hirokazu Kore-Eda
La Vie D’Adèle, dir: Abdellatif Kechiche
Borgman, dir: Alex Vann Warmerdam
A Touch Of Sin, dir: Zhangke Jia
Michael Kohlhaas, dir: Arnaud Despallières
Un Château En Italie, dir: Valeria Bruni-Tedeschi
Out of Competition
Blood Ties, dir: Guillaume Canet
All Is Lost, dir: J.C. Chandor
Un Certain Regard
The Bling Ring, dir: Sofia Coppola (Opening film)
Omar, dir: Hany Abu-Assad
Death March, dir: Adolfo Alix, Jr
Fruitvale: dir: Ryan Coogler*
The Bastards, dir: Claire Denis
Norte, Hangganan Ng Kasaysayan, dir: Lav Diaz
As I Lay Dying, dir: James Franco
Miele, dir: Valeria Golino*
L’Inconnu Du Lac, dir: Alain Guiraudie
Bends, dir: Flora Lau*
L’Image Manquante, dir: Rithy Panh
La Jaula De Oro, dir: Diego Quemada-Diez*
Anonymous, dir: Mohammad Rasoulof
Sarah Préfère La Course, dir: Chloé Robichaud*
Grand Central, dir: Rebecca Zlotowski