Among the selections are three Canadian features. David Cronenberg's Cosmopolis starring Robert Pattinson plays in Competition. His son Brandon Cronenberg sees the premiere of his debut feature Antiviral play in the Un Certain Regard section for emerging filmmakers. Also playing in Un Certain Regard is the third film by Quebec's enfant terrible Xavier Dolan, Laurence Anyways. All three of his films have played at Cannes – not bad for a 23-year-old.
It's disappointing though to see how over-represented North American films are and how few Asian films there are. It is also scandalous how few women there are, and that there are none in Competition.
The closing film will be Thérèse Desqueyroux in tribute to French director Claude Miller, who died two weeks ago. The film was his last and stars Gilles Lellouche and Audrey Tautou.
This year's Competition jury will be presided by Italian director and previous Palme d'Or winner Nanni Moretti, who won in 2001 for La stanza del figlio (The Son's Room). British actor Tim Roth will head the jury for the Un Certain Regard section.
A total of 1,779 films were submitted for consideration this year resulting and 54 films were chosen from 26 countries.
The 65th Festival de Cannes takes place from May 16–27.
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65th Annual Festival de Cannes
16 to 27 May 2012
COMPETITIONOpening Film
Wes Anderson, Moonrise Kingdom 1h34
***
Jacques Audiard, De Rouille et d’Os (Rust & Bone) – 1h55
Leos Carax, Holy Motors – 1h50
David Cronenberg, Cosmopolis – 1h45
Lee Daniels, The Paperboy – 1h41
Andrew Dominik, Killing Them Softly – 1h40
Matteo Garrone, Reality (previously known as Big House) – 1h50
Michael Haneke, Amour (Love) – 2h06
John Hillcoat, Lawless – 1h55
HONG Sangsoo, Da-reun Na-ra-e-suh (In Another Country) – 1h28
IM Sangsoo, Do-nui Mat (The Taste of Money) – 1h53
Abbas Kiarostami, Like Someone in Love – 1h49
Ken Loach, The Angels’ Share – 1h46
Sergei Loznitsa, Im Nebel (In the Fog) – 2h07
Cristian Mungiu, Dincolo de dealuri (Beyond the Hills) – 2h35
Yousry Nasrallah, Baad el Mawkeaa (After the Battle) – 2h06
Jeff Nichols, Mud – 2h15
Alain Resnais, Vous N’Avez Encore Rien Vu (You Haven't Seen Anything Yet) – 1h55
Carlos Reygadas, Post Tenebras Lux – 1h40
Walter Salles, On The Road – 2h20
Ulrich Seidl, Paradies: Liebe (Paradise: Love) – 2h00
Thomas Vinterberg, Jagten (The Hunt) – 1h46
***
Closing Film
Claude Miller, Thérèse Desqueyroux, Out of Comp. – 1h50
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UN CERTAIN REGARD 2012
Ashim Ahluwalia, Miss Lovely 1st film – 1h50
Juan Andrés Arango, La Playa (The Beach) 1st film – 1h30
Nabil Ayouch, Les Chevaux De Dieu (God's Horses) – 1h55
Catherine Corsini, Trois Mondes (Three Worlds) – 1h40
Brandon Cronenberg, Antiviral 1st film – 1h50
Benicio del Toro, Pablo Trapero, Julio Medem, Elia Suleiman, Juan Carlos Tabio, Gaspar Noe and Laurent Cantet, 7 dias en La Habana (Seven Days in Havana) – 2h05
Benoît Delépine, Gustave Kervern, Le Grand Soir – 1h32
Xavier Dolan, Laurence Anyways – 2h41
Michel Franco, Despues de Lucia (After Lucia) – 1h33
Joachim Lafosse, Aimer à perdre la raison (Loving Without Reason) – 1h54
Darezhan Omirbayev, Student – 1h30
Moussa Toure, La Pirogue (The Pirogue) – 1h27
Pablo Trapero, Elefante Blanco (White Elephant) – 2h00
Sylvie Verheyde, Confession d'un Enfant du Siecle (Confessions of a Child of the Century) – 2h05
Koji Wakamatsu, 11.25 The Day he Chose his Own Fate – 2h00
Lou Ye, Mystery – 1h30
Benh Zeitlin, Beasts of the Southern Wild 1st film – 1h32
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OUT OF COMPETITION
Out of competition:
Bernardo Bertolucci, Io e te (Me and You) – 1h37
Eric Darnell, Tom McGrath, Madagascar 3, Europe's Most Wanted – 1h30
Philip Kaufman (along his tribute and his Master Class), Hemingway & Gellhorn – 2h34
Midnight screenings:
Dario Argento, Dario Argento's Dracula – 1h46
Takashi Miike, Ai To Makoto – 2h14
65th Anniversary:
Une journee particuliere (A Particular Day), by Gilles Jacob and Samuel Faure – 53’
Special Screenings:
Fatih Akin, Der müll im garten Eden (Polluting Paradise) – 1h25
Laurent Bouzereau, Roman Polanski: A Film Memoir – 1h34
Ken Burns, Sarah Burns, David McMahon, The Central Park Five – 2h00
Sébastien Lifshitz, Les Invisibles – 1h55
Claudine Nougaret, Raymond Depardon, Journal de France – 1h40
Nelson Pereira dos Santos, A Música Segundo Tom Jobim (The Music According Tom Jobim) – 1h30
Gonzalo Tobal, Villegas 1st film – 1h36
Apichatpong Weerasethakul, Mekong Hotel – 1h01
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SHORT FILM COMPETITION
Alvaro Aponte-Centeno, Mi Santa Mirada – 15’
Eicke Bettinga, Souffle (Gasp) – 15’
Mohamed (dit Hamé) Bourokba, Ce Chemin Devant Moi – 15’
Bassam Chekhes, Falastein, Sandouk Al Intezar Lil Burtuqal (Waiting For P.O. Box) – 15’
Grainger David, The Chair – 12’
Zia Mandivwalla, Night Shift – 14’
Chloé Robichaud, Chef De Meute – 13’
Michael Spiccia, Yardbird – 13’
Emilie Verhamme, Cockaigne – 13’
L.Rezan Yesilbas, Sessiz-Be Deng (Silent) – 14’
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THE CINÉFONDATION SELECTION 2012
Pascale Abou Jamra, Behind Me Olive Trees (Derriere Moi Les Oliviers) – 20’ (ALBA, Lebanon)
Shoichi Akino, The Barber (Riyoushi) – 39’ (Tokyo University of the Arts, Japan)
Arthur Cahn, Les Ravissements (The Raptures) – 50’ (La fémis, France)
Morten Helgeland, Slug Invasion – 6’ (The Animation Workshop, Denmark)
Michal Hogenauer, Tambylles – 58’ (FAMU, Czech Republic)
Leni Huyghe, Matteus – 18’ (Sint-Lukas Brussels, Belgium)
Cristi Iftime, Tabăra din Răzoare (The Camp in Razoare) – 22’ (UNATC, Romania)
Taisia Igumentseva, Doroga Na (The Road to) – 32’ (VGIK, Russia)
Piero Messina, Terra (Land) – 23’ (CSC, Italy)
Miguel Angel Moulet, Los Anfitriones (The Hosts) – 16’ (EICTV, Cuba)
Meryl O'Connor, The Ballad of Finn + Yeti – 18’ (UCLA, USA)
Timothy Reckart, Head Over Heels – 10’ (NFTS, United Kingdom)
Matthew James Reilly, Abigail – 17’ (NYU , USA)
Eti Tsicko, Resen (Dog Leash) – 26’ (TAU, Israel)
Eduardo Williams, Pude Ver Un Puma (Could See a Puma) – (17’ UCINE, Argentina)
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Tribute to PHILIP KAUFMAN & Master Class
Philip Kaufman, American screenwriter and director, will be leading the Master Class for the 65th Festival de Cannes. Following Martin Scorsese, Stephen Frears, Nanni Moretti, Wong Kar Wai and Sydney Pollack, Kaufman will talk to Michel Ciment about his craft as a film-maker, his experience on-set, the challenges and the pleasures of the profession – in short, his passion for cinema.
For this occasion, the Festival de Cannes will present his latest film: Hemingway & Gellhorn, in the Official Selection on the Out of Competition category.
This fresco, produced by HBO Films and starring Nicole Kidman and Clive Owen, tells the passionate and tumultuous story of the legendary writer and his third wife, a famous war correspondent.
Philip Kaufman, who was born in 1936, completed his studies at the University of Chicago, then at Harvard before spending two years in Europe. On his return to the United States, an encounter with Anaïs Nin determined his career path: he wrote and directed his first film, Goldstein, which was awarded the Prix de la Nouvelle Critique at Cannes in 1964. Two years later, Philip Kaufman had a contract with Universal in Hollywood. He developed the original story of Indiana Jones and the Raiders of the Lost Ark with George Lucas and wrote the screenplay for The Outlaw Josey Wales, which went on to be directed by Clint Eastwood (1976). Kaufman then directed The Great Northfield Minnesota Raid (1972) but it was with the film Invasion of the Body Snatchers (1978), his remake of the Don Siegel original (1958), that he experienced his first major box office success. After another success with The Wanderers (1979), Kaufman moved on to more ambitious projects: The Right Stuff (1983) which earned him eight nominations and four Oscars and The Unbearable Lightness of Being (1988) with Daniel Day Lewis, Juliette Binoche and Lena Olin, which received an array of international awards.
Philip Kaufman then directed Henry & June (1990), based on the memoirs of Anaïs Nin, Rising Sun (1993), an adaptation of Michael Crichton's novel, and Quills (2000) with Geoffrey Rush starring as the Marquis de Sade. His most recent film, Twisted, was released in 2004.
http://www.festival-cannes.com/
A Word from the President
The story of the Festival de Cannes could be evoked in several different ways. You could read the books that have been written about it; or you could examine the newspapers from various periods: there’s a huge amount of material available.
The same is not true, however, of filmed images. In 2000, we realized that an irreparable loss was happening. Irreparable, that is, unless we were to find, analyze, catalogue, protect and – at the right time – make available for viewing the things that might yet be saved. We decided to act.
As we were reclaiming the past, and systematically filming the present, we found ourselves with a body of material. A unique body, in the sense that we had filmed in places nobody had access to, in the wings during opening/closing ceremonies, for example. One day – who knows ? – footage of when the jury convenes… And we also obtained shared ownership of the images filmed by our partner, Canal+.
It immediately became tempting to show some of these images. And to tell the story of the Festival from both sides of the lens: the detail through the most astonishing of anecdotes, History with a capital H when talking about the rites of Cannes and, especially, the great artistes who have come to visit. Which brings me to what I want to talk about: to this humble work, to this Festival History Number 4, a documentary which will be shown on the day of our birthday, entitled A Special Day. An Ettore Scola reference, yes, but also because it tells the story of the 35 filmmakers who came to Cannes in 2007 for To Each His Own Cinema. And special, finally, because it reveals some of the rites I made reference to, those of the birth of a group. How film directors who barely knew each other, who were maybe wary of each other, even, became friends.
I’ve made the most of the occasion by evoking their different worlds using extracts from To Each His Own Cinema – which I’m sure you’ll find entertaining. I’ll leave it to you to guess which belongs to which. Meet on May 20th in Salle Debussy, for those of you who are interested. For the past becomes a lot more interesting when one holds it up to the future. What will festivals be like considering how love for film has been so fundamentally transformed? It’s up to us to bring together the audience that filmmakers deserve. It’s up to us to show we’re not duped by the environment that we’ve done our best to influence: it would have developed without us in any case. It’s up to us to declare the persistence of a different kind of cinema, loved by both the president of the jury and this festival. A creative cinema that stretches from one acknowledging its difference to one that embraces radical innovation without which there would be no progression.
What has changed in cinema? Everything. Gone, the pioneers and the innocence, the way of filming, cameras, understanding audiences, duration, rhythm, acting... Sometimes, today, writing is the subject of a film, the recently departed Raoul Ruiz being a prime example. It’s cinema on its feet, to paraphrase Jean-Louis Bory, that the press expects at Cannes, and not just the press, anyone who considers cinema to be an adult art.
An art which, like painting, architecture or poetry, goes through successive revolutions, alternating between bursts and periods of maturation, contemplation and sudden leaps forward.
For what hasn’t and won’t change is the kind of filmmaker that makes Cannes, and not the ephemeral or the froth. In a world that sacrifices everything to what’s superficial, to the new-best-thing, to the lowest common denominator, to the non-debate of ideas through apathy, what counts, what makes us strong, is our passion for cinema and for those who make it: the great auteur filmmakers.
The greatness of Cannes is its ability to bring together and share that very special moment when a film is discovered. A film which, in the blink of an eye, invents, awakens, overwhelms, deifies. People come from all over the world to find this creative spark, this irreplaceable magical concentration. New technologies, internet, pirating, simultaneous worldwide releases, new formats, and everything that follows can’t change a thing, because the collective, unifying passion lies here with us. That’s just the way it is. François Truffaut said that we’ll soon be judged by people who haven’t seen Sunrise. He was right! How many young people today between the ages of 15 to 20 have heard of Murnau, Eisenstein, Griffith, Gance, Stroheim, Mizoguchi, Satiajit Ray, Buñuel... And that’s just their names, imagine if I was to start listing their films… So, do you see the extent of the work we have left to do?
Have a great festival!
http://www.festival-cannes.com/
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