Cannes 2019 Preview

dead dont die

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 Hollywoodthe 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, Snowpiercerand Okjathere 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 Girlhooda 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 & HelenaThis 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 Fouis 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 Icewon 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 Worldso 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 VincereThis 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. 

The Best Movies of 2005

top ten 2005
This is the official end of the 2005 Project, which followed last year’s Summer of ’92 in my obsessive quest to determine what is the best movie of my lifetime. The “closing ceremony”, so to speak, is a list of my top ten favorite movies of that year.

I’ve always remembered 2005 as one of the best years of my life. It mostly has to do with a number of personal reasons, but I was 13 at the time, which makes it right around the time I was discovering “grown-up” movies and television. However, fond memories and contemporary realities are different, and my taste has changed quite dramatically since then. Back then, my favorite movies of the year were A History of Violence, Match Pointand The Squid and the WhaleOnly one of those three movies remains in my top ten. Wanna find out what movies are on the list and why? You just have to keep reading…

Top ten best movies of 2005

Disclaimer: There are a couple of movies I wanted to watch before writing this article, but couldn’t find a decent copy of. I’ve made peace with catching up with most of them at some point in the future, but the one I’m really bummed I couldn’t get a hold on is Romanian director Cristi Puiu’s Cannes-winning The Death of Mr. LazarescuIt is, by all accounts, an essential film, and I couldn’t write a “best of 2005” list without mentioning it.

Grizzly101. Grizzly Man
(Dir. Werner Herzog / 103 min. / USA)
One of the most unique and excellent cinematic experiments. The Discovery Channel had loads of footage to make a movie about the life and tragic death of Timothy Treadwell. But instead of just making the movie, they handed the footage to Werner Herzog, a man whose personality can only be described as the absolutely opposite of Treadwell’s. The result is a magnetic dialogue in which Treadwell’s love for nature blooms from the afterlife, and Herzog tries to re-assemble the life of a mind he can barely grasp.

Film Title: Munich.2. Munich
(Dir. Steven Spielberg / 164 min. / USA)
A strong contender for Spielberg’s greatest movie, Munich is now more relevant than ever. Clearly a response to 9/11 and the war on terror, Spielberg boldly says what no one was willing to say at the time, and what most people are still unwilling to admit: violence will only bring more violence. And he did it by examining one of the most difficult subjects in all of contemporary politics. Years from now, this will be one of the key movies to understanding the politics of our world. We will hopefully look at it as a sign of change, and not an early omen of our failures.

pride083. Pride & Prejudice
(Dir. Joe Wright / 129 min. / UK)
The most delightful experience on this list. Jane Austen is obviously a genius. Literary adaptation are often dully swallowed by their own prestige. The beauty of Wright’s movie is in how excited he seems to be not only to be telling this story, but to be telling it as a movie. Lighting, costumes, sets, camera movements, editing, score, sounds, choreography… no cinematic elements goes unexplored in turning this into a movie that shares the lively enthusiasm of Austen’s prose and its main protagonist.

squid074. The Squid and the Whale
(Dir. Noah Baumbach / 81 min. / USA)
Of all the movies in this list, this one hit me in the most personal way. The life of the characters in Baumbach’s autobiographical movie has enough small similarities with my own personal history as to make me identify and consider some of the most upsetting elements about the aftermath of this disturbed family’s divorce. But it’s not that it only speaks to me, the level of detail Baumbach puts into the movie makes it ring true. There is enough here to find multiple ways into the mind of these characters. It’s not a “nice” movie, but it’s a deeply genuine one.

proposition pearce5. The Proposition
(Dir. John Hillcoat / 104 min. / Australia)
A perfectly made Australian western, The Proposition follows in the tradition of the genre by using its conventional set-up to explore deeper and darker elements of the soul. It not only makes reference to the most violent passages of Australia’s history, but it uses the wild frontier to examine the nature of justice, and how the cold and analytical nature of reason is easily defeated by the boiling hot passion of our humane feelings. These feelings make us human, but are they our greatest strength, or our biggest flaw?

newworld066. The New World
(Dir. Terrence Malick / 135 min* / USA)
I have a limited experience with Malick, but this is the only one of his movies that has truly spoken to me. The visuals, aided by genius cinematographer Emmanuel Lubezki, are amazing, and the structure of the pre-existing history of Jamestown and Pocahontas give Malick solid ground to build on. It might seem a little too new age-y at the start, but as it goes on, The New World reveals that by being fascinated with the world of the natives, John Smith is as complicit as anyone in Pocahontas’s tragic end. There is no way of approaching the virgin land without changing it forever.

threeburials057. The Three Burials of Melquiades Estrada
(Dir. Tommy Lee Jones / 121 min. / USA)
There are imperfect elements to this screenplay, but the fact that both of Jones’s movies as a director have gotten as little recognition as they have is just criminal. In this beautiful allegorical tale, the friendship of a rugged all-american rancher and an undocumented Mexican immigrant is put to the test in the form of a typical Western quest across the Texan border. It’s quite a magical movie, full of poetic metaphors and heartbreaking parables about the human relationships between the two countries. On a more superficial level, Jones speaking Spanish is a delight.

warworlds088. War of the Worlds
(Dir. Steven Spielberg / 116 min. / USA)
Dismissed as corny and poisoned by Cruise’s bad publicity upon release, just a decade has been enough for me to recognize the gigantic intentions of this movie. Sure, the more corny aspects are still there (it is, after all, Spielberg), but then again, this *is* Spielberg. And this might very well be the quintessential disaster movie of our time. A movie that, through imagery and directorial strength, harkens back to the most primal fears of humanity in a world that has met the holocaust, 9/11, and global warming.

chappelle099. Dave Chappelle’s Block Party
(Dir. Michel Gondry /  103 min. / USA)
I considered this a fun movie when I first saw it. Nine years later, it shines as a defiant political document. Its most radical characteristic? It’s optimism. Chappelle is a great performer, but he is also a very intelligent man. On the face of the Bush administration back then, and on the face of gentrification and police violence now, Chappelle’s love-letter to the “hood” becomes an idealistic and powerful cry towards tolerance, community, and understanding. The funniest, most entertaining deeply radical film you’ll ever see.

Qi Shu10. Three Times
(Dir. Hou Hsiao-Hsien / 120 min. / Taiwan)
Determining the 10th spot was quite hard for me. I seriously considered Brokeback Mountain, Cacheand Kiss Kiss Bang Bang for this spot, but at the end, even if I wasn’t *completely* in love with Hou’s multi-temporal love stories, there are very few movies that can compare to the very best moments in Three Times. I wasn’t a big fan of the obtuse modernity of its third act, but the second act is as audacious a filmmaking exercise as you’re going to find, and the first act is one of the most gloriously romantic segments I have ever seen in any movie. And even with my reservations towards some of the segments, the juxtaposition of these three love stories is quite powerful.

Honorable Mentions: Brokeback Mountain, Cacheand Kiss Kiss Bang Bang

And in case you’re curious, here are my favorite performances of 2005:

Lead Actor: Steve Carell (The 40 Year-Old Virgin), Robert Downey Jr (Kiss Kiss Bang Bang), Tommy Lee Jones (The Three Burials of Melquiades Estrada), Heath Ledger (Brokeback Mountain), Ray Winstone (The Proposition)

Lead Actress: Joan Allen (The Upside of Anger), Q’Orianke Kilcher (The New World), Keira Knightley (Pride & Prejudice), Qi Shu (Three Times), Reese Witherspoon (Walk the Line)

Supporting Actor: Jeff Daniels (The Squid and the Whale), Val Kilmer (Kiss Kiss Bang Bang), Barry Pepper (The Three Burials of Melquiades Estrada), Mickey Rourke (Sin City), Donald Sutherland (Pride & Prejudice)

Supporting Actress: Amy Adams (Junebug), Taraji P. Henson (Hustle & Flow), Catherine Keeener (The 40 Year-Old Virgin), Laura Linney (The Squid and the Whale), Jena Malone (Pride & Prejudice)

2005 Project Batch 3: The New World, Batman Begins, and Broken Flowers


Like I said in the previous post, I’ve been watching movies from 2005 and writing about some of them on my Letterboxd page. I’ve also been copying those thoughts and posting them in the blog. Just to clarify, these are not full-fledged reviews, but rather some quick thoughts (I’ll be watching so many movies that I couldn’t possibly write full-length reviews for all them).

Here’s the third batch.

TheNewWorldPosterThe New World (Directed by Terrence Malick)

I am not a Malick fanatic. I have only seen three of his movies, and of those, I would say ‘The New World’ is far and away the best one. Partly, because it has the clearest idea of them all: it is, essentially, the love story between John Smith and Pocahontas.

The Romance of it all gives the movie a strong base to stand on, and from there, it can become as profound and touching as Malick wants it to be. It could be read as another new age-y idea of man wanting to renounce civilization after being captivated by the power of living in harmony with nature, except it is not. It is something far more tragic. It engages head-on with the futility of the “civilized” man trying to return to nature. The second half of the movie, the one that focuses on Pocahontas, makes clear what the toll of this enterprise is.

It is also particularly interesting to watch ‘The New World’ just after watching ‘Grizzly Man’. They make for very interesting companion films. Aren’t both, after all, talking about man’s relationship to nature? While Herzog argues that searching for nature will kill man, Malick argues that man will kill nature by searching for it.

I don’t know. Am I onto something here? In any case, both are pretty amazing movies.

batmanbeginsposterBatman Begins (Directed by Christopher Nolan)

By now we know that you shouldn’t ask too many questions when watching a Christopher Nolan movie. You’re not supposed to ask “why”, but just give in to the thrill-ride of watching a filmmaker who is always driving forward. If you do this, I’m pretty sure you’ll have a good time with ‘Batman Begins’, especially in its first half, where the forward momentum is held together by Hans Zimmer and James Newton Howard’s propulsive score.

Once things settle down, the film starts to lose gas. It is never fully dead, but its latter half suffer from a unnecessarily complicated, and thus messy, plot. Many people point out to the confusing villain as one of the film’s biggest flaws, and I agree. This is a case where the exciting nature of the filmmaking does a lot for what is an otherwise not fully cooked screenplay. I like the movie’s core idea, of positioning Batman as a legendary figure in modern society, but I am not thrilled by the story around it.

brokenflowersposterBroken Flowers (Directed by Jim Jarmusch)

I first watched this when it first came out in DVD. I was thirteen, and I remember thinking that this was a movie in which “nothing happened”. And I didn’t even mean it in a pejorative way. My brain wasn’t ready to engage with a movie as apparently uneventful as this one. Ten years later, I have engaged with lots of movies that has far less going on in them than ‘Broken Flowers’.

Reading reviews of the time, the movie seems to have been mostly dismissed as another entry in the Bill Murray Midlife Crisis canon (this came out right after Lost In Translation and The Life Aquatic). I don’t think this is the best of those films, but it’s certainly the saddest, and it makes it worth look at the three as a very touching and genuine trilogy about emptiness.

The most effective element in ‘Broken Flowers’ is how committed it is to the emptiness at the center of the main character’s life. There is no Scarlett Johansson, or Owen Wilson, or Jaguar Shark here. Don Johnston’s life is completely mundane and absolutely meaningless. Thus, despite being often amusing, the movie ends up being a very painful tragedy. If nothing else, I absolutely love the movie’s ending.