The Directors’ Fortnight sidebar is actually non-competitive, but certain partners of the Société des Réalisateurs Français, the French directors’ body that organizes the event, attribute awards. Earlier today, international critics’ group FIPRESCI gave its prize in the section to France’s Les Combattants (Love At First Fight) by Thomas Cailley. This evening it has also taken the Art Cinema Award, the SACD Prize and the Europa Cinéma Label Prize. It’s notable that two of those went to a French film last year, Les Garçons Et Guillaume, A Table! which went on to big box office success in France as well as several Césars. Billed as “A love story. Or a story of survival. Or both,” the debut feature stars Adèle Haenel and Kevin Azaïs and releases in France on August 20. The Short Film prize was given to Sem Coraçao by Portugal’s Nara Normande and Tião with Special Mention for Trece Si Prin Perete by Radu Jude.
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 Directors’ Fortnight sidebar has its closing ceremony tonight with Yolande Moreau’s Henri screening after the prize ceremony. The section is actually non-competitive, but certain partners of the Société des Réalisateurs Français, the French directors’ body that organizes the event, attribute awards. Frenchman Guillaume Gallienne won two prizes tonight for Les Garçons Et Guillaume, A Table!, while Brit helmer Clio Barnard took the Europa Cinema Label honor for The Selfish Giant. Her film was recently acquired by Sundance Selects. Last year’s winners included Pablo Larrain’s No, which went on to be nominated for a foreign language Oscar, and Noémie Lvovsky’s Camille Redouble which later scored 13 nominations at France’s César Awards. Here’s the group that took prizes for the 2013 edition of the Fortnight:
U.S. director Jeremy Saulnier used Kickstarter to help fund thriller Blue Ruin which has its world premiere in Directors’ Fortnight in Cannes on Saturday. The story follows a peaceful vagrant whose life is upended by dreadful news which sets him off to his childhood home to carry out an act of revenge. Macon Blair and Homeland’s Amy Hargreaves star. Saulnier directed 2007’s Murder Party and was the DP on this year’s Sundance title I Used To Be Darker. Here’s a clip:
The Directors’ Fortnight roster was unveiled this morning in Paris with a mix of high-profile and debut features on the slate. Ruairi Robinson’s Last Days On Mars with Liev Schreiber, Romola Garai and Elias Koteas, and handled by Focus Features International, is among the world premieres. Sebastián Silva’s Magic Magic, which debuted in Sundance and stars Michael Cera, Juno Temple, Emily Browning, Catalina Sandino and Agustin Sílva, also has a berth. Another Sundance title, the Jim Mickle-directed cannibal tale We Are What We Are has a spot. The Fortnight is heavy on English-language fare. Along with the above titles are Jeremy Saulnier’s Blue Ruin and Clio Barnard’s The Selfish Giant; UK director Lynne Ramsay is part of the shorts lineup. There will be a special tribute to Alejandro Jodorowosky, the Chilean-French filmmaker whose adaptation of his own autobiography La Danza De La Realidad is in selection. He’s also the subject of a debut feature by Frank Pavich, Jodorowsky’s Dune, which looks at the director’s ill-fated attempt to film the legendary Frank Herbert novel. The Fortnight further makes it two years in a row for director Anurag Kashyap who was there in 2012 with Gangs Of Wasseypur. In total, there are 21 features including seven first films. The section runs at the Cannes Film Festival from May 16-26 and opens with Ari Folman’s The Congress. Yolande Moreau’s Henri will close the sidebar. Click over for the full list of Fortnight titles:
Waltz With Bashir helmer Ari Folman‘s The Congress will raise the curtain on the 45th Directors’ Fortnight sidebar at the Cannes Film Festival on May 16. The pic – a mix of live action and animation — is the adaptation of sci-fi novel The Futurological Congress by Polish writer Stanislaw Lem. Robin Wright, Harvey Keitel, Paul Giamatti, Kodi Smit-McPhee and Danny Huston star. Wright plays an actress (also called Robin Wright) who accepts a large payout from a major Hollywood studio, Miramount, to be scanned and digitized to create a virtual actress. The deal stipulates she will no longer control her likeness and the studio can use it any way it pleases, essentially kiboshing her career. For 20 years she disappears to return to a transformed world as guest of honor at the Miramount-Nagasaki Convention, where a new invention is to be revealed. Producers are Bridgit Folman, Film Gang, Pandora Film, Opus Film, Paul Thiltges Distribution, ARP and Entre Chien et Loup. Match Factory has international sales. The full Directors’ Fortnight lineup will be unveiled Tuesday.
The Cannes sidebar event Directors Fortnight today honored Pablo Larrain’s No, which stars Gael Garcia Bernal as the young advertising executive who engineered the advertising campaign that toppled Chilean dictator Augusto Pinochet in a 1988 referendum. The well-received movie was acquired by Sony Pictures Classics earlier this week. Other films honored in the Fortnight under the auspices of Europa Cinemas were Merzak Allouache’s El Taaib and Noémie Lvovsky’s Camille Rewinds. The Fortnight also recognized the short film Fyzal Boulifa’s The Curse and Basil da Cunha’s The Living Also Cry.
On a few separate occasions this week, I’ve heard of instances where Directors’ Fortnight screening attendees saw attempts made by audience members to film movies once the lights went down. In one scenario, a film industry exec tells me they saw a spectator almost blatantly pull a movie camera out of a knapsack and begin shooting the screen. The exec alerted security and the offender was admonished — but not removed from the room. In another instance, someone filming with a smartphone only stopped when loudly scolded. I’ve heard similar stories from others, so I asked the Cannes Film Festival sidebar today what was going on. I was told they haven’t experienced this problem before, but with new digital gadgets popping up all over the place, they agreed they “should police better.”
No film from Cannes has ever been pirated, fest honcho Thierry Frémaux assures me. How could they be? At the Lumière theater in the Palais, where all competition movies are screened, security guards watch from on high and see the whole room. And if they see a smartphone screen light up, they pounce. There are also security checks once you get inside the Palais — I’ve had my rudimentary digital camera confiscated and kept at coatcheck. Hell, you can’t even get a bottle of water into that theater.
The 2012 Cannes Film Festival has announced its Directors’ Fortnight sidebar, naming the Michel Gondry-directed The We And The I as the opening film. There will be 21 films, 18 of which are premieres from around the world. Here’s the list:
3 de / by Pablo Stoll Ward (Uruguay, Allemagne, Argentine / Uruguay, Germany, Argentina)
Adieu Berthe de / by Bruno Podalydès (France)
Alyah de / by Elie Wajeman (France) – Caméra d’or
Camille redouble de / by Noémie Lvovsky (France)
Dae gi eui wang / The King of Pigs de / by Yeun Sang-Ho (Corée du Sud / South Korea) – Caméra d’or
Dangerous Liaisons de / by Hur Jin-Ho (Chine / China)
El Taaib / Le Repenti de / by Merzak Allouache (Algérie / Algeria)
Ernest et Célestine de / by Stéphane Aubier, Vincent Patar, Benjamin Renner (France, Belgique, Luxembourg / France, Belgium, Luxembourg)
Fogo de / by Yulene Olaizola (Mexique, Canada)
Gangs of Wasseypur de / by Anurag Kashyap (Inde / India)
Infancia clandestina/ Enfance clandestine de / by Benjamin Ávila (Argentine, Espagne, Brésil / Argantina, Spain, Brazil)
La noche de enfrente / La Nuit d’en face de / by Raoul Ruiz (France, Chili / France, Chile)
La Sirga de / by William Vega (Colombie, France, Mexique / Colombia, France, Mexico) – Caméra d’or
No de / by Pablo Larraín (Chili, Etats-Unis / Chile, USA)
Opération Libertad de / by Nicolas Wadimoff (Suisse, France / Switzerland, France)
Rengaine / Hold Back de / by Rachid Djaidani (France) – …
CANNES: ‘Take Shelter’ Wins Critics Week Prize, ‘The Giants’ And ‘Breathing’ Win Directors’ Fortnight
While the big Cannes Film Festival awards get handed out this weekend, Take Shelter, the Jeff Nichols-directed Michael Shannon-Jessica Chastain drama, took the Grand Prix Nespresso, the top prize at Cannes Critics Week. Sony Pictures Classics bought the film before it screened at Sundance, and based on the Cannes buzz, they were smart to pounce before everybody saw the finished product. The Belgian film The Giants won the Art Cinema Award and the Society of Dramatic Authors and Composers’ SACA Prize, while the Austrian film Breathing was named top European film in Directors’ Fortnight.