‘We tell ourselves stories in order to move forward or survive.’
‘Sometimes you don’t understand things—but it’s OK, because you feel them.’
Abbas Kiarostami considers the nature of love, sadness and his life’s work.
Film Society of Lincoln Center’s Eugene Hernandez podcasts live Cannes 2013 highlights.
On films that refuse to conform and never cease to surprise.
In a 2005 interview with the lauded filmmaker and installation artist, Weerasethakul speaks on the mythic past and surreal present, offering clues to his promising future.
The first word on Jacques Audiard’s RUST AND BONE is that it’s a top prize contender at Cannes: ‘masterly’ and ‘absorbing.’ The second word is: ‘problematic.’
A busy week of Cannes updates comes to a close with announcements on the La Semaine de la Critique jury and the Cannes Classics lineup. HOUSE OF PLEASURES director Bertrand Bonello will serve as president for the features side of the Critics’ Week, while Portuguese auteur João Pedro Rodrigues heads up the shorts jury. The most anticipated event of the Classics selection is likely a 4K Film Foundation restoration of Sergio Leone’s gangster epic, ONCE UPON A TIME IN AMERICA, featuring 25 minutes excised from the original release. Other highlights include restored versions of Agnès Varda’s groundbreaking debut, CLEO FROM 5 TO 7; Roberto Rossellini’s modernist landmark, VIAGGIO IN ITALIA; and Steven Spielberg’s signal blockbuster, JAWS.
The Cannes Film Festival announced its full competition lineup yesterday, and it’s heavy on (male) auteurs: Anderson, Carax, Cronenberg, Garrone, Haneke, Hillcoat, Hong, Kiarostami, Loach, Mungiu, Resnais, Seidl, and the list goes on. The festival, which runs from May 16–27, will open with Wes Anderson’s Moonrise Kingdom and closes with the recently deceased Claude Miller’s final film, Thérèse Desqueyroux. “Another colossal buffet of cinematic prestige from Cannes,” writes The Guardian’s Peter Bradshaw in his roundup of the selection, “a festival so spoiled for choice that it can afford to put brilliant and well-known directors and heavy-hitters on the sidebars.”
The Tribeca Film Festival opens today in New York. Stephen Holden writes for The New York Times, “As the festival’s 11th edition gets under way the emphasis more than ever is on serious programming led by a new team, Frédéric Boyer, former artistic director and chief programmer for the Directors’ Fortnight at the Cannes Film Festival; Geoffrey Gilmore, who ran the Sundance Film Festival for 19 years; and the Tribeca mainstay Genna Terranova.” Moreover, he’s “happy to report that for the first time most of the films in the two major competitions are worthy selections.” Eric Hynes rounds up 14 recommendations for his Village Voice piece, including Ira Sachs’s KEEP THE LIGHTS ON (“unforgivably ignored at Sundance”), the Indonesian bestiary POSTCARDS FROM THE ZOO (“entrances from first frame to last”), and the Vice-produced omnibus THE FOURTH DIMENSION…
Lightning, language, and the fine art of multi-leveled storytelling: A 2004 conversation with Raúl Ruiz (1941–2011) brings the wide-ranging director into sharp focus.
Where does “The Tree of Life” stand among the 42 films we saw at Cannes?