Cannes 2019

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Re: Cannes 2019

Postby Reza » Tue May 21, 2019 2:01 pm

Willem Dafoe getting raves at Cannes for The Lighthouse.

https://www.theguardian.com/film/2019/m ... -nightmare

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Re: Cannes 2019

Postby Mister Tee » Mon May 20, 2019 4:19 pm

Sabin wrote:
Mister Tee wrote
Opening film Rocketman has got, overall, better reviews than Bohemian Rhapsody did (not a high bar to cross), though you have to question whether it can have the same staggering box-office. But it might give Egerton a shot at a best actor nomination, given the AMPAS soft-touch for biopix.

I don't know if Rocketman is going to be as big a hit. I don't know if it's going to make $900 million worldwide but I have a feeling it's going to be big. It looks like it has the exact same millennial/boomer crossover appeal, the former of which hasn't been written about enough. "Older" (yeesh) musical-biopics like Ray and Walk the Line were all about the art and the craft. Bohemian Rhapsody and it would appear Rocketman is very focused on an artist's relationship with his audience, and in the age of social media that is something that resonates very strongly with millennials. Rocketman looks like it captures the same appeal while incorporating enough musical numbers to help it stand apart.

I think this thing is the first Best Picture nominee of the year.


The upside for the film (vis a vis Bohemian):

20 points higher on Metacritic (69 vs. 49).

Queen was essentially famous for five or six familiar tunes. In roughly the same time period, Elton had two dozen songs I can sing on command. If audiences mainly want a singalong, Elton wins hands-down.

The downside:

After the whole Bohemian thing -- which, in Oscar terms, was largely a surprise -- Rocketman might come across as too predictable/routine. If not sloppy seconds.

But, given that we're almost to June and nothing's come along that's within hailing distance of a best picture nomination, why not? it's definitely the strongest thing out there...at least until Tarantino's movie screens.

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Re: Cannes 2019

Postby Sabin » Mon May 20, 2019 3:56 pm

Mister Tee wrote
Opening film Rocketman has got, overall, better reviews than Bohemian Rhapsody did (not a high bar to cross), though you have to question whether it can have the same staggering box-office. But it might give Egerton a shot at a best actor nomination, given the AMPAS soft-touch for biopix.

I don't know if Rocketman is going to be as big a hit. I don't know if it's going to make $900 million worldwide but I have a feeling it's going to be big. It looks like it has the exact same millennial/boomer crossover appeal, the former of which hasn't been written about enough. "Older" (yeesh) musical-biopics like Ray and Walk the Line were all about the art and the craft. Bohemian Rhapsody and it would appear Rocketman is very focused on an artist's relationship with his audience, and in the age of social media that is something that resonates very strongly with millennials. Rocketman looks like it captures the same appeal while incorporating enough musical numbers to help it stand apart.

I think this thing is the first Best Picture nominee of the year.
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Re: Cannes 2019

Postby Mister Tee » Mon May 20, 2019 3:05 pm

I've been too lazy to post here, but things I'd note from the past few days:

Opening film Rocketman has got, overall, better reviews than Bohemian Rhapsody did (not a high bar to cross), though you have to question whether it can have the same staggering box-office. But it might give Egerton a shot at a best actor nomination, given the AMPAS soft-touch for biopix.

Pain and Glory did, indeed, get strong reviews, though I'm getting a "lowkey" vibe from them. Banderas might be a best actor candidate here at Cannes.

The most vehement responses I've see have been for Portrait of a Lady on Fire.

An unusually high number of films seem to skirt the horror or suspense genres. Of them, The Whistlers feels like it's got the strongest reviews.

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Re: Cannes 2019

Postby Sabin » Mon May 20, 2019 12:51 pm

Pedro Almodovar has just been declared two things: "the front-runner for the Palme" and "the front-runner for the Palme again."
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Re: Cannes 2019

Postby dws1982 » Mon May 20, 2019 12:40 pm

A Hidden Life got very solid "return to form"-type reviews for Malick when it debuted yesterday. Fox Searchlight outbid A24, Netflix, Paramount, and Focus Features for the domestic distribution rights.

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Re: Cannes 2019

Postby Precious Doll » Tue May 14, 2019 7:29 am

Given the festival is about to get under way, probably the best source for all the films screening is from Wikipedia:

https://en.wikipedia.org/wiki/2019_Cannes_Film_Festival
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Re: Cannes 2019

Postby Precious Doll » Thu Apr 18, 2019 5:35 am

Details of films to be screened. Worth keeping in mind that there are usually some late announcements:

https://variety.com/2019/film/festivals ... 203192293/

Main competition:

“Atlantique” (Mati Diop)

“Bacarau” (Kleber Mendonça Filho & Juliano Dornelles)

“Frankie” (Ira Sachs)

“A Hidden Life” (Terrence Malick)

“It Must Be Heaven” (Elia Suleiman)

“Les Misérables” (Ladj Ly)

“Little Joe” (Jessica Hausner)

“Matthias and Maxime” (Xavier Dolan)

“Oh Mercy!” (Arnaud Desplechin)

“Parasite” OR “Gisaengchung” (Bong Joon Ho)

“Portrait of the Young Girl on Fire” OR “Portrait de la jeune fille en feu” (Céline Sciamma)

“Sibyl” (Justine Triet)

“Sorry We Missed You” (Ken Loach)

“Pain and Glory” OR “Dolor y Gloria” (Pedro Almodóvar)

“The Traitor” OR “Il Traditore” (Marco Bellocchio)

“The Whistlers” OR “La Gomera” (Corneliu Porumboiu)

“The Wild Goose Lake” OR “Nan Fang Che Zhan De Ju Hui” (Diao Yinan)

“The Young Ahmed” (Jean-Pierre Dardenne & Luc Dardenne)
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One

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Re: Cannes 2019

Postby Big Magilla » Wed Apr 17, 2019 9:15 am

Once Upon a Time in Hollywood is probably the most anticipated film of the year. Whether it is any good or not, it will probably be a big box-office hit. It could still be a player in year-end awards for DiCaprio and Pitt and the technical categories if nothing else.

Little Women has been done to death, but if Sony has enough confidence in it to exhibit it at Cannes, Gerwig's version might actually turn out to be the best screen version since Cukor's 1933 classic. That version earned Katharine Hepburn the Best Actress award at Venice where it was also nominated for Best Foreign Film.

It has to be better than the recent tepid TV version. If all four film versions of A Star Is Born can be nominated for Oscars in multiple categories, why can't all four versions of Little Women do the same? It should be a slam dunk for costume design, and maybe for several actors including Saoirse Ronan, Laura Dern and Meryl Streep.

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Re: Cannes 2019

Postby Precious Doll » Wed Apr 17, 2019 8:35 am

Big Magilla wrote:Rumor has it that Sony is planning to substitute Little Women for Once Upon a Time in Hollywood. Skeptics think that it's not that the latter isn't "ready" but that they fear disparaging reviews.


I'm not looking forward to either of these two films. We have more than enough versions of Little Women and various versions are beloved by various people. There is simply no need for another. I'm nervous about the Tarantino film because based on his approach to filmmaking subtly is his weakest point and Once Upon a Time in Hollywood really needs a very sensitive approach which I fear is out of reach of Tarantino.

Anyway, after having that blast of negativity to the two films sight unseen aside from a couple of stills, I'm more than happy to be proven wrong.
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Re: Cannes 2019

Postby Big Magilla » Wed Apr 17, 2019 7:08 am

Rumor has it that Sony is planning to substitute Little Women for Once Upon a Time in Hollywood. Skeptics think that it's not that the latter isn't "ready" but that they fear disparaging reviews.

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Re: Cannes 2019

Postby dws1982 » Wed Apr 17, 2019 6:26 am

Lineup is announced tomorrow.

One film that's been mentioned in the past few days as a possibility that I hadn't considered (because I assumed it wouldn't be finished in time) is Greta Gerwig's Little Women, which is apparently complete, or nearly complete.

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Re: Cannes 2019

Postby dws1982 » Sat Apr 13, 2019 7:28 am

A few updates:
Ad Astra will not be at Cannes, and will probably not make its May release date. It is supposedly still in post-production, finalizing visual effects.

Pablo Larrain's Ema will not be at Cannes, because Netflix just picked it up.

Once Upon A Time In Hollywood may not finish editing in time. Probably a 50/50 bet right now.

Rocketman will premiere, apparently out-of-competition, Jay Roach's Fair and Balanced may get an out-of-competition premiere, and Armando Iannucci's David Copperfield may as well.

Jim Jarmusch's The Dead Don't Die will open the festival in competition. Supposedly Malick and Almodovar will definitely be in the competition lineup as well.

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Re: Cannes 2019

Postby dws1982 » Tue Apr 02, 2019 6:00 pm

Terrence Malick's film has been retitled A Hidden Life and reportedly will be finished in time for Cannes.

Two other names who may be in the mix for an up-and-coming slot somewhere at Cannes: Manticores Diop and Kantemir Balagov. IMDb doesn't even have listings for their upcoming films.

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Re: Cannes 2019

Postby Precious Doll » Fri Mar 22, 2019 10:40 pm

Thats an exhausting read dws, thanks for posting it.

The Hollywood Reporter was none to keen on the new Almodovar:

https://www.hollywoodreporter.com/revie ... ew-1195284

Personally, I think Almodovar is a spent force. Mildly entertaining at best now but he hasn't made anything of real substance since Volver in 2006.

Jessica Hausner (Amour Lou, Lourdes) has a film in post-production so that may make the cut. She is probably a bit to highbrow for a competition slot.

Do we really need ANOTHER film on Ned Fucking Kelly. The last ones were only in 2003 (there was two) and they both failed.

I have to admit that most of the potential films sound unappealing. No doubt it will be the usual mixed bag.
“Those Koreans. They’re so suspicious, you know, ever since Hiroshima.” Constance Langdon (Jessica Lange) from American Horror Story: Season One


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