Cannes Film Festival Competition title Jimmy’s Hall is expected to be the last narrative feature from veteran helmer Ken Loach. This year will mark British director’s 12th time in Competition. He won the Palme d’Or in 2006 for The Wind That Shakes The Barley, …
In this week’s podcast, Deadline International Editor Nancy Tartaglione and host David Bloom run through all the many announcements for different segments of the Cannes Film Festival the past week, from the main competition to Critics Week to the Directors Fortnight. The big news: lots of female directors, lots of Canadians. David and Nancy also update what happened to that rumored sale of the UK’s Channel 5 and Malta’s efforts to boost its attractiveness as a filming location in the middle of the Mediterranean with better tax incentives. They wrap up with their weekly peek at news and trends in the international box office, as the Amazing Spider-Man 2 began to spin its web, and Captain America: The Winter Soldier, Rio 2 and Noah all passed major milestones.
Cannes? Who needs Cannes?
Last night in Hollywood, COLCOA, the “biggest” French film festival got underway with the North American premiere of legendary director Claude LeLouch‘s 44th film, We Love You, You Bastard to an overflow audience at the Directors Guild Theatre. Actually it should be noted organizers call this the “biggest” French film fest held outside of France. No, it’s not bigger than that one that happens in May that we keep talking about but with a record 61 French films of all shapes and sizes it’s a nice alternative until we can get to the South of France in 3 weeks.
This is the 18th year for Colcoa, which stands for City Of Lights, City Of Angels and is produced by the Franco-American Cultural Fund which is a partnership of the DGA, WGAW, MPA and French Society for Authors, Composers and Music Publishers. 20,000 French film fans are expected to hit the DGA all week through closing night next Monday with the North American Premieres of a new Catherine Deneuve film In The Yard, which doesn’t even open in France until this week, and a thriller, Mea Culpa. That announcement was held until last night’s opening. According to Francois Truffart (not to be confused with Truffaut, the great French director who died 30 years ago and has a theatre named in his honor during the fest) there are 37 U.S., North American and International Premieres this week, many of them without U.S. distribution so this could be a rare chance to see what he calls a real “cocktail” of French cinema.
Cannes: 2014 Directors’ Fortnight Lineup Unveiled; ‘Whiplash’, ‘Cold In July’, ‘Catch Me Daddy’, ‘Pride’, John Boorman & More
UPDATE, 3:45 AM PT, WRITETHRU: The 19 features that will make up what looks like a particularly strong Directors’ Fortnight sidebar at the Cannes Film Festival were revealed this morning in Paris with a hefty dose of genre in the mix. Along with a special 4K restoration of Tobe Hooper’s classic 1974 frightfest The Texas Chain Saw Massacre comes Alleluia, a psychological horror pic from Belgium’s Fabrice Du Welz that’s inspired by the 1940s serial murdering Lonely Hearts Killers. Also on the roster are Australian helmer Zach Hilditch’s thriller These Final Hours with Jessica De Gouw (Dracula, Arrow); and Jim Mickle‘s Sundance pic Cold In July with Michael C. Hall as a small town Texas man who kills a home intruder and finds his life unraveling into a dark underworld of corruption and violence. This is the second year in a row that Mickle is appearing in the Fortnight following a bow in Sundance. Also out of Park City is Damien Chazelle’s Whiplash, the Grand Jury prize-winner spearheaded by producers Jason Blum and Jason Reitman. (See below for the full list of Fortnight features and shorts.)
The roster for Cannes Film Festival sidebar Critics’ Week was announced this afternoon with seven films in competition and two special screenings, along with the opening and closing titles. Figuring amongst the mix is Inglourious Basterds star Mélanie Laurent with her second directorial outing, Respire, which grabbed a special screening berth. Out of the competition titles, two are from return helmers: Self Made by Israel’s Shira Geffen, whose 2007 Les Méduses won the Cannes Camera d’Or; and horror pic It Follows by David Robert Mitchell. Mitchell was in Critics’ Week in 2010 with The Myth Of The American Sleepover. British filmmaker Andrea Arnold is presiding over the jury for the 53rd edition of Critics’ Week (aka Semaine de la Critique). France’s Rebecca Zlotowski is overseeing the jury for the section’s new Sony CineAlta Discovery Prize. While some Critics’ Week titles can appear somewhat obscure at first glance, it’s worth recalling that the section has been a proving ground for such talent as Guillermo del Toro, Gaspar Noé, Alejandro González Iñárritu, Emanuele Crialese, and Jeff Nichols. The section runs this year from May 15-23. Here’s the full list of titles:
In this week’s podcast, Deadline Awards Columnist Pete Hammond and host David Bloom assess the just-announced lineup for this year’s Cannes Film Festival, which competing films have serious Oscar hopes and which pics Pete can’t wait to see when he hits the Croisette for Deadline next month. Today also was the last day for would-be Emmy voters to make themselves eligible with the TV Academy, and Pete and David take a look at the Emmy campaigns that are heating up, while also grumpily acknowledging the first Oscar campaign of the 2015 season. Finally, Pete gives his take on the weekend’s notable movie debuts, including Wally Pfister’s directorial debut Transcendence, the Woody Allen-John Tuturro collaboration Fading Gigolo and faith-based hit-in-the-making Heaven Is For Real.
Cannes Film Festival: Could This Year’s Croisette Lineup Of Big Names And Academy Favorites Lead All The Way To Oscar?
So what does today’s announcement of the 2014 Cannes Film Festival lineup mean for Oscar?
Who knows except that out of competition entry How To Train Your Dragon 2 will almost certainly be nominated for Best Animated Feature. Other than that we will have to wait and see until we actually view the films in Cannes next month. But there are good omens in this lineup (which could still see one or two more titles added) if you look at the impressive group of actors represented in these films: Oscar winners Tommy Lee Jones (who directs the competition entry The Homesman), Meryl Streep, Juliette Binoche, Marion Cotillard, Nicole Kidman, and director Michel Hazanivicius are among the prominent names and past nominees like Julianne Moore, Annette Bening, Jessica Chastain, Hailee Steinfeld, Berenice Bejo, Ryan Gosling (who is making his directorial debut) are also represented.
My colleague Nancy Tartaglione did a great job predicting who would make — or not make — the cut and wrote an exhaustive overview earlier. Now it’s time to look at the awards implications outside of those that will be handed out May 24th at the Palais. I look at Cannes as a soft start to Hollywood’s awards season. There’s no question of its importance as the granddaddy of all film fests and as a key worldwide launch for a movie that has got the goods, but in the end the May date scares off some distributors who, by launching their fall Oscar hopefuls on the Croisette may feel it ultimately hurts their chances — and more importantly their momentum.
That’s no doubt a key reason Warner Bros chose to hold back past Cannes competitor and favorite Paul Thomas Anderson’s Inherent Vice and Fox Searchlight did the same with Alexander Gonzalez Inarritu’s Birdman even apart from the usual reasons that they may not “be ready.” Last year Paramount decided at the last minute to take Alexander Payne’s Nebraska to Cannes even though he initially favored more postproduction time. Payne had competed once before with About Schmidt, headed the Un Certain Regard jury, and served on the main competition jury so he was a favorite of Cannes’ chief programmer Thierry Fremaux. The film ended up winning Best Actor for Bruce Dern but after Cannes the director “tinkered” with it and made it tighter before hitting the Telluride Film Festival over Labor Day with his final cut. It went on to win six Academy Award nominations including Best Picture and Director and Actor after finally opening November 15 (it didn’t win any Oscars, though). It’s not the first time a filmmaker has made changes after their film was shown to the world’s press and reviewed in Cannes. The growing feeling among distributors is it is best to wait until the movie is really locked before risking exposure at this most visible of all festivals.
Canadian, French and European helmers dominate the Competition roster for the 67th Cannes Film Festival. And, in what could be a record, there are 15 female directors across the entire Official Selection which was unveiled this morning in Paris. In total, 50 movies out of 1,800 submissions make up the Official Selection that encompasses the Competition, Un Certain Regard and the special screenings sections. Directors’ Fortnight and Critics’ Week are announced next week. Many of the titles revealed today had been tipped, and there were no major surprises. But, as is Cannes chief Thierry Frémaux‘s habit, more films may be added before Grace Of Monaco kicks off the Riviera proceedings May 14.
Two movies that were highly anticipated from U.S. directors are in the mix: Tommy Lee Jones’ The Homesman and Bennett Miller’s Foxcatcher. Occupying the big Hollywood slot, DreamWorks Animation, as expected, will premiere How To Train Your Dragon 2 Out Of Competition. Frémaux, who first programmed DWA’s Shrek in Competition in 2001, said having the Dragon sequel in town was a way to “celebrate 20 years of DreamWorks” and a way “for us to thank them for the films they’ve given us over the years.”
Some movies that looked like long-shot possibilities coming in were indeed left out. There was no mention of Paul Thomas Anderson’s Inherent Vice today, despite what we’ve heard was a full-court press by Frémaux. He noted that neither Terrence Malick (with Knight Of Cups) nor Emir Kusturica (with On The Milky Road) were ready. When asked what had become of Abel Ferrara’s Welcome To New York, the controversial film inspired by the Dominique Strauss-Khan scandal and starring Gérard Depardieu, he said tradition held that we “only talk about the films that we’re showing, so I’m not going to talk about Ferrara’s film.” However, scuttlebutt in the UGC Normandie theater this morning was that the film may be a late addition to the Out Of Competition lineup.
Cannes Lineup: ‘Foxcatcher’, ‘Mr Turner’, ‘The Homesman’, ‘Maps To The Stars’ In Competition; Ryan Gosling, Wim Wenders In UCR; ‘The Rover’, ‘The Salvation’ At Midnight
Cannes Film Festival chief Thierry Frémaux is about to unveil the Official Selection lineup for the 67th running of the event which kicks off May 14 with Nicole Kidman in Grace Of Monaco. Folks are settled in at the UGC Normandie movie theater on the Champs-Elysées to get some clarity on the rampant speculation that annually precedes the daddy of all international festivals. Will Paul Thomas Anderson’s Inherent Vice be in the mix? Which of the myriad French movies made the cut? Has Cannes pinned down the Foxcatcher premiere? I’ll be updating the titles as they are revealed, so keep refreshing for the latest.
Winter Sleep, dir: Nuri Bilge Ceylan
Clouds Of Sils Maria, dir: Olivier Assayas
Saint Laurent, dir: Bertrand Bonello
Maps To The Stars, dir: David Cronenberg
Two Days, One Night, dirs: Jean-Pierre and Luc Dardenne
Mommy, dir: Xavier Dolan
The Captive, dir: Atom Egoyan
Goodbye To Language, dir: Jean-Luc Godard
The Search, dir: Michel Hazanavicius
Jimmy’s Hall, dir: Ken Loach
The Homesman, dir: Tommy Lee Jones
Futatsume No Mado, dir: Naomi Kawase
Mr Turner, dir: Mike Leigh
Foxcatcher, dir: Bennett Miller
Leviathan, dir: Andrey Zvyaginstev
Wild Tales, dir: Damian Szifron
Le Meraviglie, dir: Alice Rohrwacher
Timbuktu, Abderrahmane Sissako
With less than 24 hours until the Official Selection lineup is announced, the Cannes Film Festival has today unveiled the titles in the Short Film and Cinéfondation sections. The selection committee received 3,450 shorts this year from 128 countries. …
In this week’s podcast, Deadline International Editor Nancy Tartaglione and host David Bloom do the Cannes can, previewing this week’s announcements in Paris of the lineup for the Cannes Film Festival, including likely entries from usual suspects such as Atom Egoyan and DreamWorks Animation and less likely prospects for slow-to-arrive new projects from Terrence Malick and Paul Thomas Anderson. Nancy and David also wrap up news out of last week’s Mip-TV market in Cannes, led by Keshet’s fast-selling reality formats and two hot programs out of Turkey. They finish up with their weekly peek at news and trends in the international box office, dominated abroad and in the United States by the debut of Rio 2 and the continued strength of fellow sequel Captain America: The Winter Soldier. Meanwhile, Noah continues to sail along with another strong week.
On Thursday, Thierry Frémaux will unveil the lineup for the 67th running of the Cannes Film Festival. Speculation, comme d’habitude, has been rife for at least the past month as to which titles may make the trip to the Croisette. While one exec with movies in contention says, “It’s going to the wire this year,” some contenders are coming into sharper focus. Although nothing is confirmed until Frémaux says so, among the titles I hear consistently cited as near faits-accomplis are DreamWorks Animation‘s How To Train Your Dragon 2; the Dardenne brothers’ Two Days, One Night with Marion Cotillard; Bennett Miller’s Foxcatcher; Mike Leigh‘s Mr Turner; Tommy Lee Jones‘ The Homesman; and David Cronenberg‘s Maps To The Stars. There are many, many more required to fill the Competition, Out-of-Competition, Un Certain Regard, Special Screenings and other sections. Here’s a primer for what’s looking likely, and what isn’t, to make the cut in an official category on Thursday:
We know that Nicole Kidman-starrer Grace Of Monaco is the opening-night film. French distributor Gaumont is planning a classic Cannes soirée which will follow the official screening and dinner on May 14. In other certainties, French debut feature Party Girl is opening the Un Certain Regard sidebar; a less showy title than 2013’s Bling Ring, but one that fits with UCR jury president Pablo Trapero’s take on the section this year. Jane Campion, the only woman ever to win a Palme d’Or (for The Piano in 1993), is president of the Competition jury whose other members will be revealed shortly.
Among the high-profile Hollywood titles expected is DreamWorks Animation’s How To Train Your Dragon sequel, which I hear is getting a special screening. The studio isn’t commenting, but DWA and Cannes have a long history – going back to when Frémaux took over the selection in 2001 and caused a stir by putting Shrek in the Competition. We’ve heard that Frémaux has put a full-court press on Paul Thomas Anderson to get Inherent Vice (Warner Bros) to the festival. But with a release date at the end of 2014, this could be a long shot, and some I’ve spoken with believe it won’t be ready for next month. Some wonder if Clint Eastwood’s Jersey Boys could make the trip. Eastwood has been to Cannes several times before and is esteemed by Frémaux who gave him the inaugural Lumière Prize in 2009 at the October festival he oversees in Lyon with Bertrand Tavernier. Although I’m told Jersey Boys isn’t a typical Cannes film, I wouldn’t fully rule it out — it’s also got a timely June release.
With just about 48 hours to go until Cannes Film Festival chief Thierry Frémaux unveils the lineup for this year’s event, the fest has revealed its 2014 official poster. Hervé Chigioni and graphic designer Gilles Frappier based the design …
In this week’s podcast, Deadline International Editor Nancy Tartaglione speaks from the Mip-TV conference in Cannes with host David Bloom. With lots of news coming out the show’s first couple of days, highlights include the panel Nancy moderated Monday featuring Amy Poehler and the team behind Comedy Central’s Broad City. Nancy and David also discuss some of the increasingly out-there reality formats built on surreal social experiments, a big content deal for Sony in Scandinavia and yet another hot format for sale from Israel’s Keshet. Nancy and David also look at filmmaking in Rwanda 20 years after the genocide that killed 800,000 people, and nominees for this year’s BAFTA TV Awards. Finally, they wrap up the week’s international box office.
In this week’s podcast, Deadline International Editor Nancy Tartaglione and host David Bloom look at whether Russia is likely to go ahead with a threatened cap on Western films in the wake of the Crimea crisis, two more deals affecting indie TV producers, update from Johnny Depp’s China tour into Transcendence, and mark the naming of another female filmmaker as a jury president at the Cannes Film Festival.
We’ll also take our weekly look at the international box office, led by the all-time box office record set by Frozen, whether The Lego Movie can ever catch up and big international debuts for the sequels to Captain America and Rio.