Cannes International Film Festival
8-19 May 2018
Cannes, France Cannes website
The Cannes Film Festival is planning to shake things up a bit during its 71st edition.
When the official festival line-up was announced last month, a sigh went through the crowd. Not only had Netflix been barred from this year’s Official Competition, but what’s worse was the repeatedly low number of female directors on display – only three out of 21 this time, undoubtedly a meagre result.
The 70th anniversary editoion of the Cannes Film Festival promises to be as intriguing, fun and unpredictable as ever.
Opening on Wednesday 17 May with Arnaud Desplechin’s latest offering Ismael’s Ghosts, the Competition line-up continues to follow the slighter darker, more adventurous direction introduced last year, this time including exciting new films such as Sofia Coppola‘s The Beguiled, Todd Haynes‘ Wonderstruck, the Safdie brothers’ Good Time, and Snowpiercer-director Bong Joon-ho‘s Okja.
Yorgos Lanthimos follows up his acclaimed The Lobster with The Killing of a Sacred Deer, a Kubrickian version of a modern Greek tragedy starring Colin Farrell and Nicole Kidman, while Michael Haneke has teamed up again with Isabelle Huppert for his latest offering Happy End . We also very much look forward to Andrey Zvyagintsev’s Loveless, Fatih Akin’s thriller In the Fade and You Were Never Really Here, the new film by Lynne Ramsay, which sees Joaquin Phoenix’s killer protagonist plunging deep into conspiracy and crisis.
In comparison, this year’s Un Certain Regard strand looks somewhat pale at first sight. However, the two titles that stand out are Before We Vanish by veteran director Kiyoshi Kurosawa as well as Wind River, the directorial debut by Sicario and Hell or High Water writer Taylor Sheridan. Also worth checking out seems Western by German director Valeska Grisebach, who worked as a writer on last year’s Cannes favourite Toni Erdmann.
Out of Competition titles include Takashi Miike’s Blade of the Immortal and the new film by Hedwig and the Angry Inch director John Cameron Mitchell, How to Talk to Girls at Parties, while the Midnight Screenings strand seems to offer equally intriguing fare with Jung Byung-Gil’s The Villainess and Byun Sung-Hyun’s The Merciless. Plus, this year two episode’s of David Lynch’s upcoming season of Twin Peaks and two episodes of Jane Campion’s Top of the Lake will be screened, despite the fact that there is usually little television on show at Cannes.
As always, one must also take note of the usually excellent Directors’ Fortnight strand, which this year opens with Claire Denis‘ Un Beau Soleil Interieur, starring Juliette Binoche. However, the slate also includes new films from Abel Ferrara (Alive in France) and Sean Baker (The Florida Project), as well as Sundance frontrunner Patti Cake$ by Geremy Jasper, which serves as the closing film.
Check out the full Official Selection line-up below.
Loveless – Andrey Zvyagintsev Good Time – Benny Safdie and Josh Safdie You Were Never Really Here – Lynne Ramsay A Gentle Creature – Sergei Loznitsa Jupiter’s Moon – Kornél Mundruczó L’Amant Double – François Ozon The Killing of a Sacred Deer – Yorgos Lanthimos Radiance – Naomi Kawase The Day After – Hong Sang-soo Le Redoutable – Michel Hazanavicius Wonderstruck – Todd Haynes Rodin – Jacques Doillon Happy End – Michael Haneke The Beguiled – Sofia Coppola 120 Battements Par Minute – Robin Campillo Okja – Bong Joon-ho In the Fade – Fatih Akin The Meyerowitz Stories (New and Selected) – Noah Baumbach
Un Certain Regard
Barbara – Mathieu Amalric The Desert Bride – Cecilia Atan and Valeria Pivato Closeness – Kantemir Balagov Beauty and the Dogs – Kaouther Ben Hania L’Atelier – Laurent Cantet Lucky – Sergio Castellitto April’s Daughter – Michel Franco Western – Valeska Grisebach Directions – Stephan Komandarev Out – Gyorgy Kristof Before We Vanish – Kiyoshi Kurosawa The Nature of Time – Karim Moussaoui Dregs – Mohammad Rasoulof Juene Femme – Léonor Serraille Wind River – Taylor Sheridan After the War – Annarita Zambrano
With 20 filmmakers set to compete for the Palme d’Or this year, the 69th edition of the Cannes Film Festival looks like it’s going to be as intriguing, fun and unpredictable as ever.
Opening on Wednesday 11 May with Woody Allen’s latest offering Café Society, the Competition line-up takes on a darker tone with exciting new films by the likes of Jim Jarmusch, Nicolas Winging Refn, Jeff Nicholl, Park Chan-wook and Brillante Mendoza to name but a few.
Following up his brilliant Only God Forgives which screened in Cannes in 2013, we especially look forward to Nicolas Winding Refn’s new film The Neon Demon, which the Danish director has described as ‘a horror film about vicious beauty’. Back in Competition for an eighth time, Jim Jarmusch will premiere his bus-driver drama Paterson, and also present his Iggy Pop documentary Gimme Danger in a special screening slot.
After premiering his sci-fi thriller Midnight Special at the Berlinale in February, Jeff Nicholl has already completed his next film. Loving stars his long-term collaborator Michael Shannon alongside Joel Edgerton and Ruth Negga as the inter-racial couple Mildred and Richard Loving, who were jailed in Virginia in 1958 for breaking state laws by getting married.
Set in colonial Korea in the 1930s, Park Chan-wook’s The Handmaiden is based on Sarah Waters’s novel Fingersmith. Other literary adaptations include Xavier Dolan’s star-studded Only The End of The World, an adaptation of Jean-Luc Lagarce’s play about a terminally ill writer who returns home after a long absence, and Paul Verhoeven’s Elle, based on a thriller by Philippe Djian and starring Isabelle Huppert as a businesswoman who is attacked at her home one night and decides to stalk her assailant back.
Olivier Assayas’s second English-language feature Personal Shopper has been described as ‘a ghost story set in the fashion world’ and plays alongside other promising titles such as Na Hong-jin’s The Wailing, a highly anticipated Korean blockbuster about a detective and a shaman, Scottish director David Mackenzie’s Hell or High Waterand Sierra-Nevada, the latest film from Romanian filmmaker Cristi Puiu.
In comparison, this year’s Un Certain Regard strand looks slightly weaker than usual, but there are two Japanese titles to look out for, Koju Fukada’s Harmonium and Hirokazu Kore-eda’s After The Stormas well as Singapore filmmaker Boo Jungeng’s Apprentice, described as a morbid prison drama that explores the relationship between the prison’s chief and a young correctional officer. Promising a vampire romance along the lines of Let the Right One In, Michael O’Shea’s debut feature The Transfiguration also looks worth checking out.
In the Directors’ Fortnight, Alejandro Jodorowsky will present Endless Poetry the second film of a trilogy that began with The Dance of Reality, while Pablo Larraín reunites with Gael García Bernal for political thriller Neruda.
Unfortunately, Ben Wheatley’s latest offering Free Fire didn’t seem to have made the selection, but there is still enough on offer to make this 69th edition a really exciting one.
This year’s 58th edition of the BFI London Film Festival promises an exciting line-up filled, as ever, with a mixture of high-profile gala features, previous festival winners and hits, and a vast number of smaller gems that are unlikely to be coming to a cinema near you any time soon.
Running from 8 to 19 October 2014, the festival opens with the European premiere of The Imitation Game and closes with Brad Pitt tank-confined thriller Fury, with plenty of thrills on offer in between.
Featuring some of our favourites from this year’s Cannes and Etrange Festival, the line-up also includes Sion Sono’s Tokyo Tribe, Ana Lily Amirpour’s Iranian vampire tale A Girl Walks Home Alone at Night, Aleksei German’s final sci-fi epic Hard to Be a God, David Robert Mitchell’s creepy, intelligent thriller It Follows and Lisandro Alonso’s hallucinatory 19th-century meta-Western Jauja, starring Viggo Mortensen as a dizzy captain who follows his missing daughter into an existential void.
Straight from TIFF, we also recommend Mark Hartley’s Electric Boogaloo, which delivers a frenetic look at the rise and fall of 1980s action-exploitation studio Cannon Films, and Myroslav Slaboshpytskiy’s shocking The Tribe, whereas Abel Ferrara’s Pasolini, which attempts to recreate the last day in the life of the Italian director, is too elliptical and confounding to really satisfy.
Finally, for everyone who hasn’t had a chance to see it on the big screen yet, the LFF’s popular archive screenings will include a painstaking restoration of Sergei Paradjanov‘s 1968 masterpiece The Colour of Pomegranates, along with other treasures such as King Hu’s Dragon Inn and restored 1934 silent film The Goddess, starring the iconic Ruan Lingyu.
For more information about the programme and how to book tickets visit the LFF website.