It’s time for Cannes! Even if it’s unlikely that I’ll ever travel to the Croisette to attend the most prestigious film festival in the world, I cannot wait to hear about all the movies that play there. Hearing what’s coming down the pike from some of cinema’s most respected auteurs is one of the delights of the cinematic year. These are all the movies I get to look forward to for the rest of the year! This year I’ve decided to do something a little different, and list the movies in order of how excited I am to see them (with the caveat that the order will probably change after the movies premiere and we have actual reviews to guide my interest).
Overall, the line-up seems pretty much in line with the kind of movies (and directors) that premiere at Cannes. The biggest surprise was the absence of Once Upon a Time in Hollywood, the latest from Quentin Tarantino, which was expected to premiere at Cannes on May 21 (the day that Pulp Fiction premiered twenty-five years ago before winning the Palme D’Or). The movie is still in post-production, and although it wasn’t part of the announcement today, will probably be added to the competition in the weeks to come. With four films, this is the line-up with the most female-directed movies in the history of the festival, thought I’ll let you decide if 4 out of 19 is a number to be excited about.
The 2019 Cannes Competition (in order of Personal Excitement):
Pain & Glory (directed by Pedro Almodóvar)
Focusing on a director who reflects on his life at a critical point in his career, this movie sounds like Almodóvar is making his version of 8 1/2 and All That Jazz. I absolutely love Almodóvar, and would watch any movie he directs, but what makes me extra excited is that this one has already opened in Spain, and the reviews have been fantastic. Some are starting to think this could be the movie that finally wins the Palme D’Or for Pedro. The movie stars Antonio Banderas, and features Almodóvar veterans Penélope Cruz, Cecilia Roth, as well as the acting debut of pop singer Rosalía.
The Dead Don’t Die (directed by Jim Jarmusch)
The festival’s opener is the latest from offbeat director Jim Jarmusch. Advertised as “the greatest zombie cast ever dissasembled,” the movie stars Bill Murray and Adam Driver as a sheriff and deputy who must protect their small town from a zombie outbreak. They are joined, among others, by Chloë Sevigny, Danny Glover, Selena Gomez and Tilda Swinton. Jarmusch is a Cannes veteran, but has never won the Palme D’Or. This movie, which looks very comedic from the trailer, might not look like the one that finally gives him the win, but it does look quite delightful. I will follow Jarmusch anywhere after the wonderful Paterson, so I’m glad this one has a U.S. release set for June 14.
Bacurau (directed by Kleber Mendonça Filho, Juliano Dornelles)
Mendonça’s Aquarius was one of the ver best movies of 2016, and featured a powerhouse performance by Brazilian legend Sonia Braga. His new movie, translated as Nighthawk on IMDb, sees the director reuniting with Braga. I don’t know much about the plot, but honestly, I don’t need to. I would be incredibly excited for Mendonça’s latest no matter the subject or star.
Parasite (directed by Bong Joon-ho)
After Mother, Snowpiercer, and Okja, there is no doubting Bong as a master of genre cinema from me. No one can balance forward momentum, extreme violence, and dark comedy the way he can, often jumping from one to the other in the very same scene. Re-teaming with leading man Kang-ho Song, his latest movie focuses on a family in hardship whose illegal activities take them down a very dark road. I expect a top-notch, unique mystery.
Portrait of a Lady on Fire (directed by Celine Sciamma)
Celine Sciamma is the director of Girlhood, a fabulous movie that, if nothing else, features one of the very best scenes I’ve seen in a movie this decade. Sciamma has had success in Cannes sidebars in the past, but this is her debut in the competition. It’s a 18th Century period piece about a young female painter being forced to paint a wedding portrait for another young woman. I’ve been waiting for a while for Sciamma’s follow-up to Girlhood, so color me very excited.
It Must Be Heaven (directed by Elia Suleiman)
I must admit I’m not familiar with Suleiman’s previous Cannes entry –The Time That Remains– but everything I’ve heard about the director makes this sound like a fascinating project. Apparently, Suleiman’s style combines silent slapstick with melancholic introspection (already up my alley). This is the story of a man who escapes from Palestine to discover that the country follows his wherever he goes. I am very intrigued.
Atlantique (directed by Mati Diop)
If you are me, then you will recognize Mati Diop as the young girl from 35 Shots of Rum, or one of the foreign artists in the wonderful Hermia & Helena. This is her first feature-length film as a director, which makes Diop the first black female director to have a film in the Main Competition. This seems to be a story about African migration to Europe, focusing on one woman who is left behind in Senegal. Despite being a debut, the buzz around this movie is really strong. Many outlets and insiders are claiming this is will go down as the emergence of a new major filmmaker. I’m really excited.
Frankie (directed by Ira Sachs)
Director Ira Sachs, who’s directed lovely American indies such as Love is Strange and Little Men, makes his Cannes debut with this story about three generations of a family working out their personal conflicts while on vacation in Portugal. When Isabelle Huppert and Marisa Tomei headline the cast, one simply cannot ask for more.
Little Joe (directed by Jessica Hausner)
Hausner’s last movie, Amour Fou, is a very unconventional period piece. The Austrian director makes her English-language debut with this science fiction story about a group of scientist trying to figure out a mysterious plant that seems to change the personalities of those who come in contact with it. The lovely Ben Whishaw plays one of the lead roles.
The Whistlers (directed by Corneliu Porumboiu)
This movie sees Porumboiu revisit a character from his ten year-old Police, Adjective, as Romanian mainstay Vlad Ivanov plays a police officer who tries to use a secret whistling language in order to pull off a heist. I expect a slow and dryly funny movie in the style of most Romanian New Wave films, which when done right, can do wonders for me.
The Wild Goose Lake (directed by Yinan Diao)
There almost no information about this movie, but Diao’s last, Black Coal, Thin Ice, won the Golden Bear at the Berlin Film Festival. There was a bit of controversy earlier this year regarding the Chinese government not allowing certain titles to compete at Cannes this year. This seems to have been the one exception. I am not familiar with Diao’s work, so I’m placing it near the middle expectations-wise.
A Hidden Life (directed by Terrence Malick)
Oh, Terrence Malick, the suddenly prolific American auteur returns with a three hour epic set during World War II. It’s supposed to be the story of a conscientious objector who refuses to fight for the Nazis, but knowing Malick, there will probably a lot of philosophical detours taken along the way. Malick isn’t usually my cup of tea, but I do love The New World, so while I wouldn’t count on it, here’s hoping I can connect with this one in the same way.
The Traitor (directed by Marco Bellocchio)
I’ve never seen a movie by Bellocchio before, though I’ve heard quite good things about his Mussollini biopic Vincere. This one is also a biopic, albeit of the less well-known Tommaso Buscetta, known as the “boss of the two worlds”, who apparently became the first mafia informant in 1980s Sicily. The trailer below is just a teaser, so it’s hard to know what’s going on, though I expected the typical darkness, violence, and excess of a gangster/mafia movie.
Oh Mercy! (directed by Arnaud Desplechin)
Despelchin is another Cannes favorite. This is about a detective trying to solve the brutal murder of a young woman. The wonderful Lea Seydoux is the top billed actress, though I’m not sure if she is the detective or the victim… or neither. Murder mysteries are not my favorite genre, and I’m constantly disappointed by contemporary French cinema, so I’m waiting for reviews to see if I gather any excitement.
Sybil (directed by Justine Triet)
The final female-directed film in the competition is a story about a “jaded therapist who returns to her first love of writing” and obsesses over a young actress. Female obsession is always an interesting genre, though my spotty history with contemporary French cinema keeps me from getting excited about this one.
Matthias & Maxime (directed by Xavier Dolan)
The prolific and opinionated Xavier Dolan has a particularly thorny history with Cannes. His last movie to play in Competition, It’s Only the End of the World, won the Grand Prix in 2016 despite being totally eviscerated by critics (a situation so hostile that Dolan claims he got eczema from it). But now he’s back with his latest movie, apparently an ensemble drama about relationships. I’ve only seen a couple of his movies, and haven’t been truly into them. Reviews for his latest stuff has been mostly bad. So my excitement is definitely low.
Les Miserables (directed by Ladj Ly)
This is Ly’s directorial debut, and it’s always exciting to see a filmmaker debut in Cannes Competition, but watching the clip that is available on IMDb lowered my expectations quite a bit. This movie seems “gritty” and “masculine” in a way that is always unappealing to me. The descriptions says it’s about a group of anti-crime brigade operating in a poor French neighborhood.
Sorry We Missed You (directed by Ken Loach)
Loach is one of those people who are extremely prolific and well liked at Cannes, which means that his movies are always in the competition. I personally don’t tend to connect with his particular brand of social realism. Not even his Palme D’Or-winning work can get me very excited, so unless reviews are truly ecstatic, I will probably skip this one.
Young Ahmed (directed by Jean-Pierre Dardenne, Luc Dardenne)
I am not the biggest fan of the Dardenne brothers’ hyper-realist miserablism to begin with, so this would be a tough sell for me no matter what. But the log-line “A Belgian teenager hatches a plot to kill his teacher after embracing an extremist interpretation of the Quran” sounds like exactly the kind of movie that I have zero interesting in seeing, especially coming from two white Europeans. They are Cannes favorites, though, so their movies are always in the line-up.