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CANNES
D A I LY
№8
M AY 1 8 , 2 0 1 6
THR.COM/CANNES
LES FILMS SÉVILLE ENTERTAINMENT ONE TF1 INTERNATIONAL TAJJ MEDIA present
a MAX FILMS production in co-production with JOBRO PRODUCTIONS NORTH CREATIVE FILMS
DANE DEHAAN
TATIANA MASLANY
TWO LOVERS
AND A BEAR
from academy award® nominated director
KIM NGUYEN
produced by roger frappier
co-produced by jonathan bronfman ellen hamilton
wednesday may 18
8:45 theatre croisette (press)
17:45 theatre croisette (official)
thursday may 19
11:30 cinema les arcades (venue 1)
18:30 studio 13
world sales
office in cannes
25-26 la croisette (7th floor)
+33 (0)9 61 43 92 70 (tel)
produced with the financial participation of
Max Films FC D8 051816.indd 1
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Amazing Film D8 051816.indd 1
5/17/16 7:52 AM
MAY 18, 2016
THR.COM/CANNES
CANNES
WEATHER
AND HIGH
TEMPS
TODAY
68° F
20° C
TOMORROW
73° F
23° C
Netflix
Picks Up
Wheelman
Thriller
By Rebecca Ford
LOIC VENANCE/AFP/GETTY IMAGES
N
etflix has made its first
deal of the festival,
acquiring worldwide
rights to action-thriller
Wheelman, starring
Frank Grillo.
Grillo plays a
getaway driver
thrust into a
Grillo
high-stakes race
to survive after a bank robbery
goes terribly wrong. With a car
full of money and his family on
the line, he races to figure out
who double-crossed him, and
the only person he can trust is
his 14-year-old daughter.
“We are looking forward to
working with this stellar team
to bring this action-packed film
to our members around the
world,” says Robert Roy, Netflix’s
vp global film.
Grillo also is producing
along with Joe Carnahan and
The Solution Entertainment
Group’s Myles Nestel. Wheelman
is written by Jeremy Rush, who
will direct, and is scheduled to
start principal photography in
fall 2016. J. Todd Harris, Chady
Mattar and Scott Silver are executive producing.
“What Netflix and Ted
Sarandos are allowing talent and
independent filmmakers to do
is experience a freedom without
the pressures of the conventional film model. I couldn’t be
more excited to be part of this,”
says Grillo, who is known for
starring in The Purge franchise
and Captain America: Civil War.
The deal was negotiated by
CAA with Nestel and Lisa Wilson
at The Solution Entertainment
Group.
Year of the Cannes Power Shift
The old guard has given way to the new as major moves by upstarts STX and Amazon Studios
have pushed more established players onto the sidelines By Scott Roxborough and Tatiana Siegel
T
he 2016 Cannes film market is drawing to a
close with few blockbuster deals. But as studio-sized indies and online-streaming giants
stake their claim on the global market, there’s a sense
that this year marked a power shift in the industry.
STX Entertainment and Focus Features used
Cannes to fully roll out their ambitious international
strategies, while Amazon, which screened five films
in Cannes’ official selection, and Netflix, which kept a
lower profile during the fest, both scooped up titles in
headline-catching deals.
Bob Simonds’ STX won a heated bidding war for the
biggest projects in the market, paying an estimated
$50 million for foreign rights to Martin Scorsese’s
mob picture The Irishman, starring Robert De Niro
and Al Pacino (Paramount already had domestic
rights to the $100 million project). Universal, Fox and
IM Global also were pursuing internationally, but
the old guard lost out to Simonds’ newcomer. STX
also made the first big money deal in Cannes with its
$9 million buy of U.S. and Chinese rights to Molly’s
Game, which stars Jessica Chastain and Idris Elba,
and marks Aaron Sorkin’s directorial debut.
“Buyers are looking for great scripts from talented
artists from companies who know they are going to
be able to deliver,” says Sierra/Affinity CEO Nick
Meyer, who is handling international rights on the
drama, which revolves around a high-stakes international poker game.
C O N T I N U E D O N PA G E 2
Stewart and Assayas share a laugh at
the photocall for Personal Shopper.
REVIEW
Personal Shopper
K
Kristen Stewart reteams with her Clouds of Sils Maria director Olivier Assayas
for a tedious Paris-set ghost story BY TODD MCCARTHY
R IST EN ST EWA RT WA S T ER R I F IC
playing Juliette Binoche’s personal
assistant in Olivier Assayas’ 2014 Cannes
competition entry, Clouds of Sils Maria, but she
should have quit while she was ahead rather than
take on such a similar role in Assayas’ latest,
Personal Shopper. A sort-of ghost story about a
THE HOLLYWOOD REPORTER
D8_cannes_News_E_FINAL.indd 1
C A NNE S №8
young American in Paris who half-believes she’s in
contact with her late twin brother, this aggravatingly empty would-be suspense piece puts all its
trust in its star to save the day, but even this compulsively watchable performer can’t elevate such
a vapid, undeveloped screenplay. Perhaps some
C O N T I N U E D O N PA G E 2 1
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theREPORT
HEAT INDEX
CHRIS PINE
After box-office flops Z for Zachariah
and The Finest Hours, the star
looks set to get his bankability back
playing, well, a bank robber in
Western Hell or High Water, which
has earned raves in Cannes and a
100 percent Rotten Tomatoes rating.
KNOW YOUR
DEALMAKER
Power Shift
C O N T I N U ED F R O M PA G E 1
For its part, Focus made its
presence felt by throwing a party
that introduced the company’s
upcoming slate, including the
animated film Kubo and Jeff
Nichols’ interracial drama Loving.
Last year, Focus landed Cannes’
biggest deal, a $20 million purchase of worldwide rights to Tom
Ford’s Nocturnal Animals. This
time around, it nabbed the most
major international territories for
American Honey, taking Andrea
Arnold’s Shia LaBeouf starrer in
the U.K., Germany, Spain, Italy,
Scandinavia and Australia/New
Zealand. In Berlin, Focus snatched
up two other Cannes competition
titles: Julieta and Loving.
Amazon, which boasted
five films screening as official
selections, was guaranteed
top billing in Cannes this
year. But the streaming giant
added to the buzz with a pair of
multimillion-dollar deals, taking
North American rights on Mike
Leigh’s upcoming period drama
Peterloo and Lynne Ramsay’s You
Were Never Really Here, starring
Joaquin Phoenix (beating out A24
in the process).
“It’s obvious, but Amazon
is pretty active in this specialized market, and they’re really
aggressive,” says David Kosse, international president at STX.
A24 isn’t going home emptyhanded, nabbing U.S. rights to
the Andrew Garfield starrer Under
the Silver Lake and The Killing of a
Sacred Deer, with Colin Farrell.
And Sony Pictures Classics,
which appears to be the most obvious victim of Amazon’s brashness,
landed two films for its own slate:
Paul Verhoeven’s French-language
Elle and the German-language
Toni Erdmann — both playing in
competition.
Even The Weinstein Co., which
has been quiet on the festival
circuit for some time, plunked
down mid-seven figures for North
American rights to the Jeremy
Renner-Elizabeth Olsen drama
Wind River. Sundance Selects,
always active at the market,
took U.S. rights to Ken Loach’s I,
Daniel Blake, while The Orchard
nabbed North American rights to
Pablo Larrain’s Spanish-language
film Neruda. Still unclaimed but
expected to sell for at least midseven figures is Larrain’s Natalie
Portman starrer Jackie.
“The market is limited in terms
of movies that people are fighting
and scampering over,” says Bloom’s
Alex Walton, who launched Martin
Zandvliet’s The Outsider, starring
Jared Leto and set in post-World
War II Japan, and Scott Cooper’s
Hostiles, starring Christian Bale and
Rosamund Pike.
And perhaps that “limited”
descriptor was particularly fitting
for this Cannes market.
Pamela McClintock contributed
to this report.
WHERE ARE THEY NOW?
A look at the status of some of the biggest market projects of recent years
ARIANNA BOCCO
There’s no place like Cannes when it comes to splashy announcements about ambitious film projects
with big stars and even royalty. Here’s a look back at a trio of projects that remain in limbo.
Sundance Selects senior vp
acquisitions and productions
In the race for Ken Loach’s well-reviewed
competition film I, Daniel Blake, Bocco
helped Sundance Selects prevail over
suitor The Orchard.
MEANWHILE, IN THE REAL WORLD …
• Fan Bingbing (X-Men: Days of
Future Past) has joined Jason
Statham in Meg, a creature
feature being made by Warner
Bros. and China’s Gravity
Pictures.
• Comedian Louis C.K. unveiled
plans to tour through the
remainder of the year, including
overseas shows in London,
Paris, Jerusalem and elsewhere.
• A terminal of the Nice airport
temporarily was evacuated due
to an unattended piece of luggage, which police blew up.
• Vincent Gallo sued Facebook
and an anonymous John Doe,
saying the latter registered an
account under his name and got
an ex-girlfriend to share nude
photos.
SPINNING GOLD
In 2013, Justin Timberlake
turned up at Cannes to help
announce Spinning Gold, a biopic in
which he’d star as infamous record
executive Neil Bogart. Sales and
financing outfit Foresight Unlimited
still lists the project on its slate, but
there’s no director.
ROYAL ICE
Sales and production company
Aldamisa Entertainment had no trouble grabbing headlines at last year’s
Cannes when announcing Royal
Ice, an account of Prince Albert’s
quest to form Monaco’s first Olympic
bobsledding team. A year later, the
project still appears to be on ice.
U.S., CHINA TEAM
ON $80M TETRIS
By Patrick Brzeski
C
hinese media mogul Bruno Wu and producer
Larry Kasanoff have unveiled a new joint
venture to develop and finance film projects for the worldwide market. Named Threshold
Global Studios, the banner’s first project will be
an $80 million film adaptation of the iconic video
game Tetris.
The film is being packaged as an epic sci-fi
thriller. The partners say it will be an official
D8_cannes_News_E_FINAL.indd 2
TIGER’S CURSE
Lotus Entertainment held a party
with a real tiger for foreign buyers
when announcing plans to adapt the
first in a series of best-selling novels
by Colleen Houck about a white tiger
named Ren. Lotus continued shopping
the project to Cannes last year, but so
far the Tiger has yet to reveal itself.
U.S.-China co-production, with a
Western and Chinese ensemble cast.
Shooting is expected to take place in
China in 2017.
Wu
Threshold Global Studios is a partnership of Kasanoff ’s Threshold Entertainment Group
and Wu’s Seven Stars Works.
The partners said in a statement: “The team has
been working with The Tetris Company
for over a year, and with the formation of Threshold Global Studios,
financing has been secured, the story
has been created, and now Wu and
Kasanoff
Kasanoff will co-produce.”
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theREPORT
CRITICS’ PICKS: BEST OF CANNES 2016 (SO FAR)
THR takes a discerning look at the midway point include a Korean erotic thriller and films about cannibalism and fundamentalism
Clash
Set in 2013, two years after the
Egyptian revolution, Mohamed
Diab’s drama is a powerfully
frightening vision of the chaos into
which the country has descended.
The action takes place within a
police van, where revolutionaries,
fundamentalists and various other
protesters are thrown together.
Rising above politics, the director
offers a sweeping condemnation
of prejudice and inhumanity.
— DEBORAH YOUNG
The Handmaiden
Park Chan-wook’s giddy, exquisitely
filmed blend of historical romance
and auteur eroticism — a kind
of meta-reading of Sarah Waters’
2002 novel Fingersmith — is about
an ill-intentioned 1930s Korean
girl who infiltrates the household
of a young Japanese heiress. With
shifting perspectives and confident pacing, the film is a kinky
thriller and love story that brims
with delicious surprises. — D.Y.
Hell or High Water
Brit filmmaker David Mackenzie
dives into archetypal Americana
in this modern Western about
bank-robbing Texan brothers
(Chris Pine and Ben Foster) that
combines unsettling violence and
textural grit with compassionate
insight. Observing the behavioral
codes of damaged men, the movie
boasts sweaty performances, tight
direction and evocative visuals.
— DAVID ROONEY
The Handmaiden
I, Daniel Blake
Veteran lefty director Ken Loach’s
latest, about two honest people
caught up in an uncaring British
Von Trier’s Serial Killer
Film Sells Wide By Scott Roxborough
I
nternational film buyers are still hot for
Lars von Trier. Distributors from across
Europe, Asia and Latin America have
jumped on The House That Jack Built, the latest
from the director behind Nymphomaniac,
Melancholia and Antichrist.
Danish sales outfit TrustNordisk inked
presale deals in Cannes for the upcoming
film with California Filmes for Latin
America, September for Benelux, Gutek
for Poland and Moviecloud for Taiwan,
among
others.
von Trier
The film tells the story of Jack, a serial
killer who has spent a decade aspiring to the
art of the perfect murder. It will be set in the
1970s and ’80s, before DNA evidence was used
in murder cases. The movie will be shot from
Jack’s perspective.
The House That Jack Built originally was
planned as a TV series. Louise Vesth, who will
produce the movie through von Trier’s shingle
Zentropa, announced in Cannes that von Trier
plans to split the shoot in two parts so he can
edit part of the film in between and adjust
things for the second half of the shoot.
welfare system, features a familiar
framework and perspective,
but exerts a powerful emotional
grip. Anchored by incisive
performances (lead Dave Johns
is terrific) and an urgent, surprisingly potent simplicity, this is
Loach’s best film in years. — D.R.
Loving
Jeff Nichols’ strong new film takes
an appealingly low-key approach
to an important American story,
with Joel Edgerton and Ruth Negga
beautifully portraying an interracial couple who fall afoul of
Virginia’s Racial Integrity Act
when they marry in 1958. It’s a big
subject treated in an unfailingly
and refreshingly intimate manner.
— TODD MCCARTHY
Neruda
Gael Garcia Bernal reteams with
No director Pablo Larrain to play
a detective on the trail of Chilean
poet-politician Pablo Neruda, who
was forced into exile in 1948. The
result is a playful, handsomely
crafted contemplation of a great
artist, bolstering Larrain’s reputation as one of the most distinctive
Who Will
Win the
Palm Dog?
At the fest’s midpoint, a
clear frontrunner has
emerged in the battle for
the coveted trophy collar
By Alex Ritman
T
he puparazzi are set
to descend on the
U.K. Pavillion May 19
for what is billed as Cannes’
pawmost awards ceremony,
the Palm Dog.
Since 2001 (making it
around 90 in dog years),
this annual event sees a
select group of mutt-loving
rufferees pick out the most
celebrated canine acting talent from this year’s festival
lineup, with the eventual
winner receiving a special
trophy collar.
Unfortunately, following
a rather sad tail, this year’s
Latin American directors to
emerge in the past decade. — D.R.
Raw
Everyone but vegetarians will
feast their eyes on this impressively made, incredibly gory
French thriller about a young
woman’s awakening to the pleasures of the flesh, in all senses
of the term. Picture The Texas
Chainsaw Massacre as an emotional coming-of-age movie set
within a veterinarian college and
you’ll get an idea of what Julia
Ducournau’s feature debut is like.
— JORDAN MINTZER
hot favorite isn’t going to
be available to claim the
prize, as Nellie, the breakout
British bulldog star from
competition entry Paterson,
has made her final bowwow.
“Nellie, may she rest in
peace,” co-star Adam Driver
tells THR. “She died a couple of months ago.”
With Palm Dog founder
Toby Rose dedicating this
year’s award to Nellie, also
hailed for portraying a male
D8_cannes_news3_FINAL.indd 4
Raw
Will Nellie from Paterson win?
dog in the film (Jim Jarmusch
said she was “playing transgender”), many might think
the award already is sewn up.
But other Cannes poochy
performances are worthy of
appaws. The dalmatian from
Critics’ Week opener In Bed
With Victoria has been singled out (“Eat your dog bowl
out, Madonna,” says Rose),
as has the three-legged
mongrel in Ken Loach’s Palme
tipped I, Daniel Blake. On
the more pup-corn side, the
fart-propelled corgis from
The BFG could do what Up’s
Dug did in 2009 and see the
prize head to Disney.
But will anyone really bet
against Nellie, who would
become the Palm Dog’s first
post-canis winner? “With her
clear potential for transitioning, she could have been
the Caitlyn Jenner of the dog
acting community,” laments
Rose.
4
5/17/16 8:45 PM
WILD BUNCH’S INSIDERS, MADRIVER
MERGE SALES OPERATIONS By Pamela McClintock
Price in the
original
Witchfinder
General.
Refn to
Produce
Remake of
Witchfinder
By Scott Roxborough
N
icolas Winding Refn,
whose latest feature,
The Neon Demon, premieres in Cannes on May 20,
has signed on to produce a
reboot of 1968 cult horror classic Witchfinder General, aka The
Conqueror Worm.
Refn and producing partner
Lene Borglum will develop the
project through Refn’s Space
Rocket shingle, together with
Sunrise Films, the new banner
set up by Brit-based producerdistributor Rupert Preston and
Nigel Williams. Refn will not
direct the reboot.
Vertigo Releasing has
snatched up U.K. rights for the
project, with Protagonist taking on international sales.
The original Witchfinder
General starred Vincent Price,
Ian Ogilvy and Hilary Dwyer.
Set in Norfolk, England, in
1645, it’s an adaptation of the
novel by Ronald Bassett about a
fictional witchhunter, based on
the real-life character Matthew
Hopkins, whose career flourished during the English Civil
War, when he is believed to
have been responsible for the
deaths of up to 300 women.
The 1968 original became a
cult favorite on the grindhouse
circuit in the U.S., in part
because of its extreme and
graphic violence.
The producers are reaching
out to writers and directors for
the project, which is targeting
a budget of between $5 million
and $10 million, and hope to
begin production next year.
They have not yet decided if
the reboot will be set in the
17th century like the original or
in modern times.
V
incent Maraval’s Insiders
and Marc Butan’s MadRiver
Pictures are merging their
foreign sales operations to form a
new company, IMR International.
Veteran executive Kim Fox of
MadRiver will run the venture.
MadRiver and Insiders, however, will continue to exist as
separate independent production
and financing companies. IMR
will handle all titles for the two
production ventures, as well as
third-party titles. All told, Fox is
expected to have a slate of 12 to 16
films per year.
CAA brokered the deal, which
was unveiled by Maraval, Butan
and Fox at the Cannes film
market.
Separately, Fox will continue
to run Megan Ellison’s Annapurna
international label.
MadRiver is a film finance,
Butan
production and international
sales company launched in early
2015. Butan’s goal is to produce
two to four director- and stardriven films a year. MadRiver’s
lineup includes Peter Landesman’s
Watergate drama Felt, starring
Liam Neeson and Diane Lane, and
James Gray’s The Lost City of Z,
starring Charlie Hunnam and Sienna
Miller. MadRiver’s 2016 Cannes
sales slate includes Hallie MeyersShyer’s Home Again, starring Rose
Byrne, and Gray’s sci-fi epic Ad
Astra.
God, Guns and
Hillary on the Croisette
New films with a rightward tilt bring
Duck Dynasty’s Phil Robinson to Cannes as
a Bible-thumping pitchman
By Tatiana Siegel and Gregg Kilday
D
uck Dynasty patriarch Phil Robertson, on his
first visit to Cannes, is, quite literally, a duck
out of water.
He couldn’t bring his favorite firearms. And he’s
missing his wife Miss Kay’s cooking. “If you want to
lose weight, come to Cannes,” he tells THR while
sipping an espresso at the Carlton.
He is here to sell a movie titled Torchbearer. Its
poster, which shows Robertson clutching a Bible in
one hand and a rifle in the other, leaves little ambiguity about its message, with a tagline that reads:
“When man stops believing in God, he’ll believe in
anything.”
Torchbearer, which debuted at a special Cannes
market screening on May 17, won’t
Robertson
likely generate bidding wars like
Martin Scorsese’s The Irishman. But
thanks to a full-court media press
and Robertson’s lightning-rod quotes,
the film is sure to generate plenty of
attention. The film’s director Stephen
K. Bannon has a second film at the
market as well, a new anti-Hillary
Clinton movie, Clinton Cash, which he
wrote and produced.
But it was guns, not deals, that
were on Robertson’s mind as he held
forth at the Carlton. “It took Bibles
D8_cannes_news4_FINAL.indd 4
Maraval
Maraval, CEO of European
powerhouse Wild Bunch, formed
the Los Angeles-based Insiders a
year ago with the aim of focusing
on prestige projects. Insiders’
sales slate includes 2016 Cannes
Film Festival entry Loving,
directed by Jeff Nichols; Pablo
Larrain’s Jackie, starring Natalie
Portman; Lynne Ramsay’s You
Were Never Really Here, starring
Joaquin Phoenix; and David Robert
Mitchell’s Under the Silver Lake,
starring Andrew Garfield.
“Our tastes are fully compatible, and having the benefit of
[Maraval’s] expertise and relationships throughout Europe and
the world will be invaluable for
us,” Butan said in a statement.
Added Maraval: “Our combined
experience will give a unique
combination for the films we
defend.”
and guns in order to found America,” he says.
Robertson may be feeling a little vulnerable in
France, though, since he sees the threat of ISIS
looming. He is accompanied at all times by armed
guards. It was unclear if either of his two guards were
legally carrying firearms. When asked, one declined
to answer. “I’m not authorized to discuss,” he said.
As for Clinton Cash, it’s based on Peter Schweizer’s
book of the same name, which alleges that donations
to The Clinton Foundation and huge speaking fees
to Bill Clinton from foreign governments and wealthy
businessmen influenced Hillary Clinton’s policy decisions during her stint as secretary of state.
To me, the Clintons have created a new precedent,” says Schweizer. “There are now mechanisms
and avenues whereby foreign entities can help
American figures become rich.”
Pitching the movie, which is being handled by
ARC Entertainment, as a film “made by rightwingers for Democrats,” Bannon says he plans to
open Clinton Cash on July 24 in Philadelphia on the
eve of the Democratic Convention and then take
it out to five cities on Aug. 1. But
he’s also in Cannes looking for both
domestic and international TV sales.
Bannon isn’t concerned that fellow
conservative Dinesh D’Souza also is
planning to open a Hillary Clinton
doc: Hillary’s America: The Secret
History of the Democratic Party on
July 22. “If conservatives want to see
our film, fine,” he says, “but we made
this film targeted to progressives,
independents. … I think Dinesh’s film
is to rally the right-wing troops. They
are two different markets.”
4
5/17/16 9:06 PM
theREPORT
THR AT CANNES
n
Hidde
GEM
PRESIDENT/CHIEF CREATIVE OFFICER
Janice Min | janice.min@thr.com
EXECUTIVE
EDITOR
DEPUTY EDITORIAL
DIRECTOR
matthew.belloni@thr.com
alison.brower@thr.com
Matthew Belloni
Alison Brower
PHOTO & VIDEO DIRECTOR
Jennifer Laski | jennifer.laski@thr.com
DESIGN DIRECTOR
Peter B. Cury | peter.cury@thr.com
NEWS
Kevin Cassidy
kevin.cassidy@thr.com | +1 213 840 1896
Gary Baum
gary.baum@thr.com | +1 213 840 1661
Patrick Brzeski
patrick.brzeski@thr.com | +81 080 5900 0233
Rebecca Ford
rebecca.ford@thr.com | +1 925 788 0507
Chris Gardner
chris.gardner@thr.com | +1 323 706 2632
Gregg Kilday
gregg.kilday@thr.com | +1 310 528 3395
Pamela McClintock
pamela.mcclintock@thr.com | +1 323 627 0670
Rhonda Richford
rhonda.richford@gmail.com | +33 6 522 39334
Alex Ritman
alex.ritman@thr.com | +44 7 930 003017
Scott Roxborough
scott.roxborough@thr.com | +49 172 587 5075
Tatiana Siegel
tatiana.siegel@thr.com | +1 310 998 7212
Georg Szalai
georg.szalai@thr.com | +44 77 7137 0103
REVIEWS EDITOR
Jon Frosch | jon.frosch@thr.com
CRITICS
Todd McCarthy | toddmccarthy1@gmail.com
Deborah Young | dyoung@mclink.it
David Rooney | drooney@nyc.rr.com
Leslie Felperin | lesliefelperin@gmail.com
Jordan Mintzer | jpmintzer@mac.com
Boyd van Hoeij | filmboyd@gmail.com
PHOTO & VIDEO
Stephanie Fischette
stephanie.fischette@thr.com
Chelsea Archer | chelsea.archer@thr.com
Tristan Cassel | tristan.cassel@thr.com
Rahman signs
up for work in
a prison because he
“wants to help.”
Apprentice Offers a Nuanced Perspective on Capital Punishment
Singaporean director Boo Junfeng provides no easy answers in this chronicle of a correctional
officer with questionable motives who studies to become an executioner By Patrick Brzeski
S
came into the project with a point of view that was
ingaporean filmmaker Boo Junfeng’s second
against the death penalty and almost with a carifeature, Apprentice, approaches the issue
cature in mind of what a hangman would be like —
of capital punishment from a refreshingly
until I met one of them for the first time.”
unusual perspective: from the side of the hangman
While writing the story, Boo was introduced to
rather than the inmate. “I wanted to look at the issue
two retired Singaporean state executioners. Neither
from a point of view that I felt wasn’t addressed very
of them conformed to his expectations, which
much before,” says the 32-year-old filmmaker, who
resulted in the story taking him much longer to
made his feature film debut in Cannes in 2010 with
write. “The first person was very likable, like a
Critics’ Week contender Sandcastle.
Apprentice, which premiered May 16 in Un Certain grandfather character, very jocular, very charismatic,” he says. The second executioner was simiRegard, follows the story of Aiman (Fir Rahman),
larly relatable, he says, but the two “had rather
a young Malay correctional officer who tells his
differing points of view on the vocation, which
superiors at Singapore’s highest security prison
comes from how they bring themselves to do
that he has entered the profession because he
it — the practicality behind it, or even the
“wants to help” those who have done wrong
compassion.”
but want to change. Within the prison, Aiman
Boo
Boo also interviewed former religious councomes under the tutelage of Rahim (Wan Hanafi
cilors who had worked with death row inmates, as
Su), the facility’s domineering but dignified chief
well as the families of executed convicts. He began
executioner. When the reason for Aiman’s fascithe film in 2011, expecting to write and produce it
nation with Rahim is revealed, the film’s complex
fairly quickly, but the project ended up taking him
ethical considerations are given immediate dramatic
five years.
voltage — Aiman’s own father was sentenced to
Boo stresses that Apprentice is not a film that was
Singapore’s death row and executed at the hands of
made to provide answers. “If anything,” he says, “it’s
Rahim years before the film begins.
Boo says Aiman’s passage through the film in some a film that will seek questions, so that people on both
sides of the fence are able to talk about it.”
ways mirrors his own journey of developing it. “I
THR.COM
Jennifer Liles
jennifer.liles@thr.com | +1 323 525 2286
Ashley Lee | ashley.lee@thr.com
ART & PRODUCTION
Cheryl Cheng | cheryl.cheng@thr.com
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EXECUTIVE VICE PRESIDENT,
GROUP PUBLISHER
Lynne Segall | lynne.segall@thr.com
SALES & MARKETING
Alison Smith
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Debra Fink
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Ivy Lam
ivy.lam@thr.com | +852 617 692 72
Lourdes Costa
T H E L AW Y E R
cannes according to …
MARC H. SIMON
Cowan DeBaets Abrahams
& Sheppard
What’s the most overrated Cannes restaurant?
Pastis. It’s not particularly
different from all the other
local spots, but it has the
longer wait to get in and the
longer wait to relieve yourself
— one toilet for the whole
place. But despite some attitude, they’re actually nice.
What is one thing you
have lost during the fest?
My Cannes bag at Pastis filled
with important contents.
Thankfully I wrote my name
on the nifty name tag that is
provided, and Pastis held it
for me until the next day —
thank you!
Do you have a Cannes
nightmare story?
Sorry, attorney-client
privilege.
What’s one thing you’d
change about your hotel?
I’d undo my canceled
reservation for the first two
nights and the resulting price
escalation for the suite —
the only room left.
What’s the best bargain
in Cannes?
The only bargain I’ve ever
found is being the guest
at a dinner party.
Where’s the best
place to avoid during
the festival?
Crossing the street in front
of the Palais, unless you’re
about to head up the
red carpet.
lourdes.costa@thr.com | +44 7516 386 360
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6
5/17/16 2:23 PM
Le Z D8 051816.indd 1
5/15/16 2:18 AM
STYLE
FASHION
by Chris Gardner
WHAT TO BUY, WEAR AND KNOW NOW
Major Fashion
Moments (So Far)
W
Stewart
in Chanel
Dunst in
Dior Haute
Couture
A
WILD
Night
ith less than a week left, the
2016 Cannes Film Festival is
more than halfway over, but
style stars such as Charlize
Theron have yet to walk the red carpet. That
means one can be sure that major fashion
moments are still to come. As the world waits,
here are the big hits of this year’s festival
so far: In addition to Blake Lively, the color
yellow ruled the carpet in the fest’s early
days. Jessica Chastain stunned in Armani
Prive, Amal Clooney brought Old Hollywood
glamour in Atelier Versace, and Anna Kendrick
looked beautiful in Stella McCartney. Jury
member Kirsten Dunst has been making
the requisite rounds and mixing it up with
each appearance. She looked modern yet
elegant in a pink Gucci with sequined floral
appliques for the opening night on May 11;
ladylike in a black, short-sleeved Marc Jacobs
dress (with flowers and mini ballerinas)
on May 15; and angelic in a Dior Haute
Couture white silk pillar gown on May 16.
There have been rebels, too. Kristen Stewart
paired Chanel with checkerboard sneakers
(after taking off her heels) at the openingnight gala dinner; Julia Roberts, in Armani
Prive and a stunning emerald and diamond
necklace by Chopard, kicked off her heels
and climbed the steps of the Palais with bare
feet; and Susan Sarandon showed off two pairs
of sunglasses at a pair of premieres. But that
actually wasn’t the most rebellious part of
her ensembles: She wore a pair of flats on
opening night as a not-so-subtle nod to last
year’s Flatgate debacle. The opposite sex
also has looked chic, from Ryan Gosling in
Gucci to Matt Bomer in Armani, both at their
premiere of The Nice Guys on May 15. Gosling
stood out in a custom white shawl one-button
jacket, a color that also worked for bad boy
turned (this year’s) gentleman Shia LaBeouf,
who showed again that in Cannes anything is
possible — especially on the red carpet.
The fashion set had a busy schedule on
May 16, shuffling between two major
parties. Kate Hudson, Heidi Klum,
Common, Orlando Bloom and Karolina
Kurkova started their night at the
launch party for The Harmonist, a Parisbased fragrance line based on feng shui
and inspired by the elements of water,
wood, fire, earth and metal. The maison
de parfum spared no expense for the
bash, taking over the beach venue in
front of the Hotel Martinez, which was
Gosling
in Gucci
Chastain in
Armani Prive
transformed into a Harmonist-themed
nightclub with music by Martin Solveig
and an exclusive performance by Jason
Derulo. “I have to get a car quickly and
make it over to the [Chopard] party,”
exclaimed one reveler near the door
as she departed and missed Derulo’s
set. … At Chopard’s massive “Wild”
fete, Diana Ross made a splash,
performing in front of a digital waterfall
and surrounded by thousands of palms
that transformed the tent into a jungle
D8_cannes_preta_FINAL.indd 8
DRESS
DU
JOUR
K ATE MOSS
in Halston
Returning to the Palais red carpet
for the first time in 15 years, the
legendary supermodel, 42, donned an
asymmetrical vintage red gown
featuring a thigh-high slit and paired
with Chopard jewels. Styled by
Alexis Roche, who has worked
with Amal Clooney, Moss appeared
with half-sister Lottie, 18,
who also wore red, by Dior.
in tune with the “Wild” theme. Paris
Hilton pushed her way to the front
row while Leonardo DiCaprio kept
his typical low-profile vaping in the
corner. Ross, clad in a glittering green
gown, performed for more than an
hour, fanning herself on stage as things
heated up. The legend sang a selection
of Supremes and ’70s hits, closing
with a cover of Gloria Gaynor’s “I Will
Survive,” before Mark Ronson took over
the turntables. — RHONDA RICHFORD
8
Ross
5/17/16 4:35 PM
From may 24 to September 7 the 48th Fortnight’ selection will be screened
around Europe and everywhere in France with the GNCR.
more on www.quinzaine-realisateurs.com @Quinzaine #quinzaine2016 In partnership with
Quizane D8 051816.indd 1
5/14/16 8:47 AM
About Town
IT’S A
MADS,
MADS,
MADS,
MADS
WORLD
Nothing can keep
the world’s oldest
profession down.
RAMBLING REPORTER By Gary Baum
Juror Mikkelsen
has been the 2016
festival’s most
frequently snapped
man-about-town.
Cannes’ Belles
Du Jour, Apres New
Solicitation Law
A new French law, enacted
April 13, legalized solicitation
but criminalized the purchase of sex in an
effort to put the onus on the paying customers. But it hasn’t crimped business along the
Croisette. Morgane Merteuil, spokesperson for
the French Sex Workers’ Union, expects the
new law to drive prices down.
“The atmosphere is fun, and I have had a
lot of work during the week,” says “Katia,” an
escort who comes down from Paris during the
fortnight. “The festival is always busier than
usual, and this year is no different.”
Katia, who gave her age as 27 (though it’s
listed on her website as 24), has attended one
red-carpet premiere and several parties this
week as part of the “girlfriend experience,”
which she offers for 550 euros an hour. She also
has a strict “4- and 5-star only” hotel policy,
but skips yacht parties that she feels have a
more hostile environment.
Clients are a 50-50 mix of French and foreign, with some American executives on her
list. Even with the new law, she says, “I can
still do business; there hasn’t been a change.
Business at [this festival] has been very good
MAY 10
Arriving at the airport in Nice.
MAY 10
Toasting at the Martinez before
the opening ceremony.
for me. It’s steady.”
This is despite a local law enforcement effort
over the past four years to fight against visible
prostitution on the streets. “We fight it every
night,” says Pierre Boutillon, deputy director of
the Cannes municipal police. “We have a night
service that monitors any activity. You will
not find any street prostitution in downtown
Cannes.”
Hotels, however, are a different story. “We
can’t be in every hotel room, and even the
security doesn’t know what is happening in the
rooms,” admits Boutillon. “It’s hard for us to
check that when you have modern prostitution
with internet and cellphones.”
A young Russian named “Kate,” who is based
in the area year-round, agrees: “[Men] contact
me through the website and we discuss on the
phone. I don’t understand how anyone could
enforce this.” — RHONDA RICHFORD
The Paris-based trio of Christophe Caurret,
MEET THE DJS
Fabrice Brovelli and Isabelle Tardieu has
WHO SPARKED
taken over Palais red-carpet music at this
AMERICAN HONEY’S year’s festival, after being handpicked by
PALAIS DANCE-OFF
Cannes director Thierry Fremaux when he
spotted them at a music festival in Bayonne last summer. The collective spends the
morning searching for new tracks to prepare for three red carpets a day, selecting tunes
that will reflect the guests. They also spin selections from the soundtracks as requested
by the films’ directors. That’s how E40’s “Choices (Yup),” a tune from American Honey,
ended up sparking an impromptu dance party on the top of the stairs during its
premiere on May 15. “It was so cool, and they just kept on dancing,” says Tardieu. The
trio keeps four turntables at the ready as soon as the MC announces each guest. — R.R.
MAY 11
Donning first tux at the
Cafe Society premiere.
MAY 12
Hitting the Chopard
Trophee ceremony.
MAY 13
Attending Charles Finch’s
dinner at the Hotel du Cap.
MAY 14
Stopping by a soiree
at Annabel’s.
MAY 15
Appearing at the Women
in Motion prize reception.
MAY 16
Joining wife Hanne Jacobsen at
the Hands of Stone afterparty.
FESTIVAL
FOOD
FACE-OFF
Lemon Tart
The sun’s finally out and the
weather’s warmed up after a rainy,
windy festival start. It’s time to
find some shade and order one
of those beautiful-day dessert
specialties: an indigenous South of
France tarte citron meringue.
ZE BE S T !
PAUSE CAFE
AU POISSON GRILLE
CARLTON RESTAURANT
39 rue Hoche, 5.80 euros
8 Quai Saint-Pierre, 9 euros
58 boulevard de la Croisette, 18 euros
This stylish little spot along a walk-street near
the train station is a certain contemporary
American ideal of Gaul through a Pinterest
looking glass (think exposed Edison bulbs).
The meringue plays the part, toasted and
swirled to please. But this ultimately is a paintby-numbers tarte, clearly prepared much
earlier in the day, its components suffering
from a lack of textural distinction as a result.
Along the harbor, with a view of the casino and
the Palais and the hills beyond it, lies a row of
tourist-oriented joints with nightly chalkboard
specials, desserts included. Some are better
than others. Here, the super-soft meringue,
dusted with a powdering of sugar, is buoyant
and subtle, which along with the softer crust
and the mellow citrus custard combine for a
quiet, unshowy tarte citron.
D8_cannes_rambling_FINAL.indd 10
Don’t you just hate it when the most expensive
version of the thing is, indeed, qualitatively
by far the best thing after all? It’s unsatisfyingly
obvious: better ingredients, far more labor
involved. Yet a tarte citron is by definition
an indulgence, and this one — just-right
crumbling, delicious meringue drops, a freshly
plucked mint sprig — delivered with an
expansive view of the sea — is perfection.
10
5/17/16 5:54 PM
DIRECTOR
X
It’s Only the End of the World is based
on the Jean-Luc Lagarce play. He
wrote it in 1990 when you were, if my
math is correct, just 1 year old. When
did you first come across the play,
and what made you want to turn it
into a film?
He did write that when I was
frolicking in a Quebec strawberry
field, dressed in my fanciest
Pampers, discovering the joys of
pollen allergies and filling my
face with homemade tarts and
meat loaf. Little did I know that,
20 years later, [Mommy actress]
Anne Dorval would bring up that
play to me, saying it was basically
tailor-made for me to adapt into
a film. I read it in 2010 for the
first time, but I didn’t connect
with the material, oddly enough.
Four years later, after Mommy, I
loved it. I guess a lot happened in
that window of time and changed
my way of reading the play. You
sometimes grow inclinations and
a sensibility you didn’t suspect
you’d have for things you didn’t
suspect you’d love. I’m talking
about cerebral plays, not BDSM
or other erotic practices.
ERNESTO RUSCIO/GETTY IMAGES
think it’s some woman or gay
guy’s job and do not have an
opinion on the matter. Hair and
wardrobe are the first things I
think of for a character. They
can tell you if a woman is seeing
herself as an object, or if a man
has been raped, or if a child is
looking for a sense of structure
in his life, if he lacks a father
figure, or if a mother has never
grown up! Then it affects their
gait, their accent, their choice
of words.
AV IER DOL A N IS I N T H E
rare position of being both a
young, up-and-coming director and a veteran filmmaker
with six movies under his belt.
After winning the Cannes jury
prize in 2014 for Mommy (sharing
the prize with French cinema legend Jean-Luc Godard), Dolan, 27,
is back on the Croisette — for the
fifth time! — with It’s Only the End
of the World. The adaptation of a
play by Jean-Luc Lagarce follows
a terminally ill writer who returns
home to tell his family he is dying.
The movie is Dolan’s biggest to
date and his first to feature big
stars, including French A-listers
Marion Cotillard, Lea Seydoux,
Gaspard Ulliel, Nathalie Baye
and Vincent Cassel. THR spoke to
Dolan ahead of the film’s Cannes
premiere on May 19 about his
experience on the Cannes jury
last year, his upcoming Englishlanguage debut and his greatest
cinematic inspirations.
Do you feel pressure ahead of the
film’s premiere in Cannes?
No. I enjoy my work, and I enjoy
D8_cannes_q&a.dolan_D_FINAL.indd 11
Q&A
“Commercial success is
Captions are
extremely important,”
national
medium
says Dolan.
“Only
the
7/7can
tracked
-20
public
decide
off.
whether yourhyphens
work will
nesti
remainFeritasperi
or disappear.”
Xavier Dolan
The Canadian wunderkind discusses his competition
entry It’s Only the End of the World, why he designs his own
costumes and his love of Home Alone By Scott Roxborough
sharing it with the public and
the press. This film is completely
and entirely incomparable to
any other I’ve shot before. This
is my first film about family,
and not only mothers and sons,
but tensions between siblings,
bitterness, loneliness, our
incapacity to listen to the people
we love and the despair that
stems from horizonless lifestyles.
… What people write and say
belongs to them, and from now,
this film belongs to them as well.
I feel no pressure from this, but
only fulfillment and bliss.
What did your experience on the
Cannes Jury last year teach you
about the process behind the
Palme d’Or?
A jury works in mysterious ways.
… Nevertheless, ours last year
operated quite simply: We spoke
freely, had no political agenda
whatsoever, we had fun, laughed,
cried (I did and I know Sienna
Miller did), and I don’t recall
fighting for or against anything.
We also agreed we wouldn’t
wallow in hatred and contempt —
although I myself couldn’t resist
one or two opportunities. It was
the most deepening, interesting
experience of my entire life. I’ve
never had such lengthy, nuanced
and humane conversations on
films, and for someone like me
who has such a limited culture, it
was life-changing.
In your previous movies, you’ve
always designed the costumes
yourself. What insight does costume
give you into character?
Everything! I love to think
costumes are a character’s first
lines. Before an actor opens his
or her mouth, the costume has
spoken. And the public may
not say that or verbalize it, but
they feel every bit of it. I don’t
understand directors who dismiss
the wardrobe department and
BY THE NUMBERS
6
Age that Dolan started in show
business, acting in a series of TV ads for
Quebec’s Jean Coutu pharmacy chain
$150,000
Amount, in Canadian dollars, that Dolan
earned from ads; he used the money to selffinance his debut film, I Killed My Mother
3
Number of sections his films have screened
in at Cannes, one in Directors’ Fortnight, two
each in Un Certain Regard and Competition.
Do you have any plans for a second
career as a fashion designer?
Very unlikely. Now that’s a
stressful job! I guess I get the best
out of both worlds designing just
the things I love and making them
for my own films.
Where do you find your inspiration?
I hardly have any. I just emulate
Titanic and Home Alone. Although
at this point, it isn’t clear whether
it’s a rip-off or rape. The real
answer is that I find most of
my inspiration in paintings and
photography — imagery of all
kinds. But the first part of the
answer is also true.
Your next film, The Death and Life
of John F. Donovan, will be your
first English-language film and the
first shot in the U.S. What has the
experience been like so far?
It’s all very exciting. We are
in prep and start shooting in
Montreal on July 9 for 40 days.
Then, Prague and London in
September and October, and
New York for a split-second
before Thanksgiving. So it’s
mostly shot outside of the U.S.
But it’s an American story,
to be precise. So far, it’s been
great, but we have a huge cast,
not only in terms of notoriety,
but in terms of the number of
actors flying in and out of our
set. It’s just very challenging
to orchestrate all this, and
still not make accommodating
choices that compromise the
film artistically or narratively
speaking. But we’re doing good,
I think. It’s been great with
all the cast, and I’m excited
about working with each
of them.
11
5/17/16 12:27 PM
About Town
CANNES HITS THE RED CARPET
1
2
1 Hell or High
Water stars Chris
Pine (left) and Ben
Foster playfully
flank director David
Mackenzie at the
film’s Nikki Beach
party on May 16.
3
4
3 Heidi Klum (in Saint
Laurent) at the
cocktail party hosted
by The Harmonist,
a new fragrance
company based on
feng shui. In an
Instagram photo,
Klum wrote that The
Harmonist was “the
scent of the night.”
5
6
4 Loving star Joel
Edgerton (with
American Honey’s
Sasha Lane) at the
film’s afterparty,
hosted by Swarovski,
at Nikki Beach on
May 16. Director Jeff
Nichols joked before
the film’s premiere:
“My wife said, ‘I love
you, but if you don’t
make this movie, I am
going to divorce
you.’ ”
5 Common and Kate
Hudson (in Cavalli
Couture) attended
The Harmonist’s
cocktail party.
6 From left:
Captain Fantastic’s
castmembers Viggo
Mortensen, Charlie
Shotwell, Shree
Crooks and Annalise
Basso at the film’s
May 17 photocall
in Cannes.
D8_cannes_redcarpet_B.indd 12
MORTENSEN: ANDREAS RENTZ/GETTY IMAGES. HUDSON: ANDREAS RENTZ/GETTY IMAGES FOR THE HARMONIST. EDGERTON: DAVID M. BENETT/DAVE BENETT/GETTY IMAGES
FOR FOCUS FEATURES. PINE: DAVID M. BENETT/GETTY IMAGES. RAMIREZ: STEPHANE CARDINALE - CORBIS/CORBIS VIA GETTY IMAGES. KLUM: MIKE MARSLAND/WIREIMAGE
2 Hands of Stone’s
Ana de Armas sat
in co-star Edgar
Ramirez’s lap at
the film’s May 16
photocall at the
Palais.
12
5/17/16 4:19 PM
P RO M OT I O N
BREAKING ENTERTAINMENT NEWS
EVERY DAY. EVERYWHERE.
THR.com
CONTACT: UNITED STATES | Debra Fink | debra.fink@thr.com // EUROPE | Alison Smith | alison.smith@thr.com
Tommaso Campione | tommaso.campione@thr.com // Frederic Fenucci | frederic.fenucci@billboard.com
ASIA | Ivy Lam | ivy.lam@thr.com // AUSTRALIA/NEW ZEALAND | Lisa Cruse | lisa@spiritedmedia.co.nz
thrhaff_FP_cannes_thr.com.indd 1
5/2/16 5:50 PM
From left
The BFG’s Steven Spielberg,
Ruby Barnhill and Mark Rylance
InterContinental Carlton Cannes
May 13 | 2:45 p.m.
Spielberg has cast Rylance in four of
his films, starting with Bridge of Spies,
which earned Rylance the best supporting actor Oscar. He also stars as
the friendly giant in The BFG and will
headline Spielberg’s next two films:
Ready Player One and The Kidnapping
of Edgardo Mortara. “When I worked
with Mark for the first time, I had found
someone who just effortlessly transitions from one completely different
character to the next,” says Spielberg.
“I like him as a human being so much, I
wanted him to be my friend.”
CANNES
DIARY 2016
This year’s film festival was nothing short of
magical. From Steven Spielberg’s friendly
giant tale The BFG to Anna Kendrick’s musical
fantasy Trolls and Blake Lively, who put a spell
on the red carpet with look after perfect look,
the French city was sprinkled with sparkly fairy
dust — and THR captured it all on camera
by Rebecca Ford | photographed by Fabrizio Maltese
photo portfolio produced by Jennifer Laski and Fabrizio Maltese
D8_cannes_portfolio_FINAL.indd 14
14
5/17/16 7:50 PM
“Steven taught me how you tell a story, what
you hide and when you reveal. Steven
keeps the audience very much in his mind.”
Rylance, on The BFG director Spielberg
Blake Lively
Grand Hyatt Cannes Hotel Martinez, May 14 | 1 p.m.
Lively was doing double duty in Cannes,
starring in the opening-night film, Woody Allen’s Cafe
Society, and serving as a L’Oreal Paris ambassador.
Lively (who wore a floral lace dress by Cynthia Rowley
for THR’s shoot) was a red-carpet maven, wearing
show-stopping gowns from Atelier Versace,
Vivienne Westwood and Valentino at multiple galas.
15
5/17/16 7:50 PM
“I sang along to the sound of Justin’s voice
in my headphones while closing my eyes. At the
end of the day, it felt like I’d spent the day
doing some intense emotional work with him.”
1
Kendrick, on Trolls co-star Timberlake
2
3
Anna Kendrick
InterContinental Carlton Cannes, May 12 | 12:20 p.m.
Kendrick and Justin Timberlake, who voiced characters in
DreamWorks Animation’s upcoming musical Trolls, performed Cindy Lauper’s “True Colors,” a song on the film’s
soundtrack, in Cannes. “The first time we sang it together
was rehearsing for the performance here,” says Kendrick,
who recorded her part for the musical after Timberlake
already had done his part. The tender version of the song
featured Timberlake playing along on the guitar.
16
5/17/16 7:51 PM
Usher
Lily-Rose Depp
Mouton Cadet Terrace,
Palais des Festivals
May 16 | 3:30 p.m.
JW Marriott Cannes
May 14 | 11:15 a.m.
The daughter of
Johnny Depp and
Vanessa Paradis stars
opposite Soko in The
Dancer as acclaimed
dancer Isadora Duncan.
The film is her third
feature after roles in
Kevin Smith’s Tusk
and Yoga Hosers.
The singer plays professional boxer Sugar Ray
Leonard, the adversary
to Panamanian boxer
Roberto Duran (Edgar
Ramirez) in The Weinstein
Co.’s Hands of Stone. “I
knew I really had to, first
off, change my diet,” says
Usher of training for the
film, “and then learn
to really understand
what these boxers were
going through.”
4
5
1 Chloe Sevigny
2 Carrie Fisher & Gary
3 Gael Garcia Bernal
Residence Le Minerve
May 15 | 3:30 p.m.
Majestic Barriere
May 15 | 2:40 p.m.
May 14 | 3:35 p.m.
The art house actress steps
behind the camera for short
film Kitty, the first in Refinery29’s Shatterbox Anthology, which feature projects
made by emerging female
filmmakers. “I have worked
with a lot of great directors,”
says Sevigny. “And I feel like
the ones that created the
safe environment where you
can try things and have ownership over the lines were the
ones I tried to emulate.”
Fisher, with her four-legged
best friend, the French
bulldog Gary, stars in HBO
documentary Bright Lights,
directed by Fisher Stevens.
The film examines her
relationship with her mother,
iconic actress Debbie
Reynolds. “I wanted people
to see who she is, not her
being a persona,” says Fisher.
“She’s an amazing, eccentric,
weird woman, and I wanted
everyone to know it.”
In Pablo Larrain’s biographical drama Neruda, Bernal
plays an inspector on the
hunt for Nobel Prize-winning
poet Pablo Neruda, who
was a fugitive in Chile in the
1940s after joining the Communist Party.
6
4 James Ivory and
Vanessa Redgrave
Majestic Barriere
May 12 | 11:12 a.m.
Ivory and Redgrave
reunited for the Cannes
Classics screening of
Howards End, the 1992
British romantic drama
that received nine
Oscar nominations.
5 Gaspard Ulliel
JW Marriott Cannes
May 14 | 11:15 a.m.
The French actor, who came
to Cannes in 2014 with Saint
Laurent, is featured in two
Cannes films: Stephanie Di
Giusto’s The Dancer and
Canadian wunderkind Xavier
Dolan’s It’s Only the End of
the World.
6 Tatiana Maslany
and Dane DeHaan
Quebec Pavilion, International
Village at the Palais
May 17 | 3:30 p.m.
Two Lovers and a Bear,
directed by Kim Nguyen,
centers on a couple living
near the North Pole who
decides to venture out on
their own. “I really related
to Lucy,” says Maslany of her
character, “in terms of that
restless spirit and that need
to find something, whatever
it is, that you need to make
yourself feel whole.”
17
5/17/16 7:53 PM
For exclusive videos with Steven Spielberg, Justin Timberlake, Anna Kendrick,
Robert De Niro, Usher, Chloe Sevigny, Adam Driver and more, go to THR.com/Cannes.
Berenice Bejo
Uni France, International
Village at the Palais
May 15 | 10:30 a.m.
Bejo stars in two films in
the festival: Marco Bellocchio’s
Sweet Dreams, which opens
the Directors’ Fortnight
section, and Joachim Lafosse’s
After Love, which also
plays in Directors’ Fortnight
and stars Cedric Kahn.
2
Robert De Niro
Mouton Cadet Terrace, Palais des Festivals, May 16 | 3:45 p.m.
The Raging Bull star returns to the ring in Hands of Stone, this time playing
trainer Ray Arcel, who worked with Roberto Duran (Edgar Ramirez). “I trained
hard for Raging Bull and Grudge Match, but these guys were terrific,” says
De Niro of co-stars Ramirez and Usher. “They really were committed to it.”
1 Soko
1
JW Marriott Cannes
May 14 | 11:35 a.m.
French musician and actress
Soko stars as famed French
dancer Loie Fuller in Stephanie
Di Giusto’s The Dancer, which
screened in the Un Certain
Regard section.
2 From left Loving’s
Joel Edgerton,
Ruth Negga and
Jeff Nichols
Majestic Beach, May 17 | 12:30 p.m.
Edgerton and Negga play the
Lovings, an interracial couple
who were arrested and then
exiled from Virginia in 1958
for getting married. “Silence
speaks volumes. The great
writers are people who write
words and they write silence,”
says Edgerton of Nichols’
restrained drama. “Everything
was in touch with the truth of
the real story.”
18
5/17/16 7:54 PM
3 Ken Loach
4 Jodie Foster
5 Rebecca Hall
Residence Resideal Cannes
May 14 | 2:05 p.m.
May 11 | 4:15 p.m.
May 13 | 3:15 p.m.
The British helmer, who has had 12
films in competition through the
years (and won the Palme d’Or for
The Wind That Shakes the Barley),
returns with I, Daniel Blake, which
centers on a widower (Dave Johns)
who struggles to get welfare benefits
after a heart attack.
“I think this film was meant to be
as entertaining as it is smart,” says
the Money Monster director about
her financial thriller starring George
Clooney and Julia Roberts. “It allows
the audience to learn things and to
be as challenged emotionally as they
are intellectually.”
Hall plays the assistant to
the Queen (Penelope Wilton) in
Spielberg’s The BFG, an
adaptation of the 1982 children’s
book written by Roald Dahl.
THR Cannes photo
and video team
Stephanie Fischette,
Jennifer Liles,
Pablo Teyssier-Verger,
Helene Vigier,
Christian Huguenot,
Caleb Seppala,
Vanni Bassetti,
Elodie Muffat,
Kieran Rivalain,
Clement Bout,
Florian Esposito
“To play someone
who is more reflective
and thoughtful and
almost a space cadet is
I think what Jim was
after — an antidote to
the movies that seem
fast-paced and urgent.”
Driver, on Paterson director Jarmusch
3
4
5
Adam Driver
Residence Resideal Cannes
May 17 | 2:30 p.m.
Driver plays a bus driver-poet
in Jim Jarmusch’s competition
film Paterson. “He’s a creature
of habit and has a very structured routine. Poetry allows
him to drift,” he says of his
character. “His main action in
the movie is to listen to everybody else, which was really fun
to play for three months.”
19
5/17/16 7:55 PM
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R E V I E WS
Stewart contemplates
the spirit world.
Shopper
C O N T I N U E D F R O M PA G E 1
American distributor will decide
that Stewart’s name connected
to an R-rated scarefest might be
promotable as a quick Halloween
cash-in, but theaters quickly would
empty when word gets around.
Despite its upscale Paris and
(briefly) London settings and
elaborate intellectual underpinnings to justify its interest in
communication with the spirit
world, this is spooky hokum from
start to finish, not the sort of
thing art house followers have
ever expected from the intellectually venturesome Assayas.
At first, Stewart’s trendy but
moodily downcast Maureen
bumps around in the large
country house where her brother
Lewis died a few months back
and where, encouraged to think
so by his surviving girlfriend Lara
(Sigrid Bouaziz), she feels she
may have detected his presence. Maureen is particularly
susceptible to the possibility of
otherworldly contact since she
suffers from the same physical
“deformation.”
Back in Paris, she glumly tends
to the wardrobe and accessory
needs of her major celebrity boss
Kyra (Nora von Waldstatten,
memorable from Assayas’ great
Carlos), who’s mostly absent,
leaving Stewart to occupy the
screen alone much of the time.
This is something the actress normally can handle with aplomb,
given her great skill at communicating thoughts and emotional
shifts via minute and subtle
shadings. But even she has got
to have a little more to work with
than what Assayas gives her here,
which consist of quotidian chores
(often picking up wardrobe and
accessory items at the fanciest
shops) and, increasingly, being
spooked by a presence that won’t
identify itself.
This central interlude intriguingly begins but goes on so long as
to become tedious and annoying.
Embarking on a quick roundtrip
shopping expedition to London
via the Chunnel train, Maureen
starts receiving phone texts stating, “I know you,” and escalating
from there into creepy insinuations, disturbing questions, vague
threats and suggestions that the
figure on the other end is very
nearby. Combined as it is with the
novel train journey and boutique
visit, this is mildly engaging for
a bit, but to devote more than
20 minutes to texting as the
dominant onscreen activity far
overestimates its fascination.
As with any number of
Hollywood and British horror
quickies of an earlier era, all the
film really is about is whether
D8_cannes_News_C.indd 21
or not the protagonist is going
to succumb to the belief that an
inhabitant of the spirit world
is in a position to make contact
with humans who still walk the
earth. As with most such stories,
this one has a much more prosaic
resolution to its mystery.
Even Stewart’s usual screen
magic isn’t enough to make
Personal Shopper worth seeing;
her character is tense, uncertain
and not particularly articulate
most of the time and is operating
largely in a vacuum. The majority of the other characters are
unappealing and/or creepy and
the dialogue lacks spark.
Competition
Cast Kristen Stewart, Sigrid
Bouaziz, Lars Eidinger, Nora von
Waldstatten, Anders Danielsen Lie,
Ty Olwin, Pascal Rambert
Director Olivier Assayas
105 minutes
21
5/17/16 2:12 PM
REVIEWS
sleep, built around the weirdness of seeing him with a latex
hairpiece to make him look bald.
Ramirez, on the other hand,
grabs the chance to show off his
range with his angry but cunning, graceful but uncontrollable
Duran. His work in the fight
scenes packs a persuasive wallop,
and while no director since
Raging Bull ever has been able to
resist the use of slow-motion to
show how punches arc and land,
Venezuelan-born Jakubowicz
(Secuestro Express) wisely doesn’t
try to go for the full-on Martin
Scorsese homage. He shoots the
fights mostly in unfussy crane
shots and close-ups, spending
more time up close with Duran
and Arcel during their corner
pep talks between rounds, which
always touchingly end with Arcel
combing Duran’s hair before he
goes back in the ring, like he’s
a son about to sing at his bar
mitzvah.
Jakubowicz shows more inventiveness and commitment with
the non-boxing parts of the film,
especially the scenes set and shot
in Panama, where anti-American feeling among the locals
runs high. Duran may be barely
educated, unable to even read
Robert De Niro stars as the trainer who coaches middleweight Roberto Duran
after a childhood spent mostly
(a fine Edgar Ramirez) in this flawed but appealing boxing pic BY LESLIE FELPERIN
in the streets stealing to survive,
but he gets the post-colonial situation and how his meteoric rise
F T H ER E W ER E A V IRT UA L A R ENA W H ER E BOX I NG MOV IE S
under Arcel’s tutelage turns him into a nationalist symbol. As the film
could slug it out, and Hands of Stone and Creed could go up
against each other as middleweight middlebrows, the latter would works its way through the key bouts that secured Duran his titles, first
against Ken Buchanan in 1972 and then later his frenemy Sugar Ray
probably win on points — but not by a huge margin. The contenders
Leonard (pop star turned actor Usher, billed here as Usher Raymond
are closely matched. Both are by up-and-coming directors, although
Creed’s Ryan Coogler has more finesse than Hands of Stone’s Jonathan IV), Jakubowicz’s screenplay is careful to plant explication about
Panama’s efforts to regain control of the canal. There’s just enough
Jakubowicz. Both films are sappier than they think they are, but still
background hum about Omar Torrijos’ regime and archive clips of
say thoughtful things about race, class and how the sport has evolved
American presidents (first Carter, then Reagan) discussing treaties to
over the years.
create a reassuring sense that this story took place in the real world,
Mainly they’re both about old-meets-new, on either a literal or meta
even if it’s obvious huge chunks of that history have been bypassed.
level. Last year’s Creed featured Sylvester Stallone reprising his role as
Indeed, it sometimes feels like other chunks have been left someRocky Balboa, a former champion who becomes a trainer for a younger
fighter (Michael B. Jordan). Hands of Stone, although ostensibly a biopic where in the editing room’s digital waste bin because there are obvious
gaps and stutters in the storytelling, characters whom we’re told are
about the legendary 1970s boxer Roberto Duran (Edgar Ramirez of
terribly important, only to have them disappear from the narrative
Carlos and Joy), isn’t actually a sequel to anything. Yet the filmmakers
altogether until it’s time for their demise to affect Duran. At least
are well aware that a core component of its appeal lies in the casting
enough time is allotted to Ana de Armas’ feisty love interest, Duran’s
of Robert De Niro, star of the canonical fight film Raging Bull, as
wife Felicidad, to build anticipation around what she’ll achieve in a
Duran’s coach Ray Arcel, a largely honorable, fatherly altacocker in a
major role in the upcoming Blade Runner remake.
sometimes grubby sport — basically the opposite of Raging Bull’s Jake
Fluency is not the film’s strong suit. But set pieces are, and there are
LaMotta.
just enough gut-punching shots along the way courtesy of director of
Given The Weinstein Co. is distributing the pic, starting it on its
photography Miguel Ioan Littin Menz. In the end, Hands of Stone is far
journey in Cannes out of competition — where the premiere was
from perfect, but it punches above its weight enough to prevent it from
turned into a De Niro tribute — there’s a good chance the company
being easily dismissed.
will be pushing the actor as an awards contender sometime later in
the year. The sad thing is that such a strategy, as with Creed, will
distract attention away from Ramirez, who gives the more interesting Out of Competition
Cast Robert De Niro, Edgar Ramirez, Usher Raymond IV, Ana de Armas
performance. De Niro shows what a master he is at taking his time
Director Jonathan Jakubowicz // 106 minutes
with a slow burn, but mostly it’s a performance he could do in his
De Niro (left) as Ray
Arcel, who guides
Ramirez’s Duran to
greatness.
Hands of Stone
I
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5/17/16 3:47 PM
Psycho Raman
A serial killer and a cop are mirror
images of each other in Anurag Kashyap’s
scary drama BY DEBORAH YOUNG
Kaushal’s police
commissioner crosses the
line between good and evil.
W
R I T ER-DIR ECTOR A N U R AG K A SH YA P
established himself as one of India’s most exciting
crossover filmmakers with the tongue-in-cheek
gangster epic Gangs of Wasseypur, but his subsequent films
have struggled to achieve that creative invention. Such is
the case with Psycho Raman (Raman Raghav 2.0), whose
less-than-original premise is that cops and criminals have a lot
in common, and the line between good and evil is easy to cross.
Keeping the director’s trademark violence and bloodshed more
or less offscreen, it’s far less unpleasant to watch than the
child-kidnapping story Ugly, though it shows a similar level of
cynicism toward the Mumbai police force. The question here is
not police incompetence or even corruption, but their license
to kill that tempts a coke-addled officer into very dark waters.
The story could have turned into one huge cliche was it not
for Nawazuddin Siddiqui’s exceptionally scary performance as
demented serial killer Ramanna. Though obviously deluded
by the voices in his head telling him to kill (which he believes
come from God), he lucidly expounds his philosophy in the
last reel: namely that the act of killing is an unparalleled high,
hypocritically perpetrated in the name of riots and religion,
Syria or whatever humanitarian cause is popular at the
moment. Instead, a killer should have the courage to murder
intentionally, one-on-one, just because he wants to. His intention should be pure. This is the philosophical torch he hopes to
pass on to the would-be hero of the tale, trendy-looking young
police commissioner Raghavan Singh Ubbi (Vicky Kaushal).
Moving forward with no point of reference, the viewer can be
excused from trying to side with the imaginative, wonderfully
off-the-wall Ramanna — until he pays a visit to his sister and
offs her entire family. And this is just the beginning of his rampage. Each time Raghavan’s detectives nab him, he slips away.
And he always keeps one eye on Raghavan, whom he sees as his
doppelganger, even though the police commissioner wears the
uniform of respectability that gives one the moral right to kill.
As the confused lawman, Kaushal is the weak link, nice
to look at but shallow in his wacky fits of unprovoked violence. Take the brutal way he man-handles Simmy (Sobhita
Dhuliwala), the rich party girl who tells him she has aborted
three of his kids. In fact, all the women characters are despised
and mistreated. Variety and depth of character are badly lacking on the female front, weakening the whole film.
Directors’ Fortnight
Cast Nawazuddin Siddiqui, Vicky Kaushal, Sobhita Dhuliwala
Director Anurag Kashyap // 127 minutes
23
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REVIEWS
Braga is a retired
music critic who has a
hard time letting go.
Aquarius
R
Sonia Braga shines in Brazilian filmmaker Kleber Mendonca Filho’s rather classic portrait of a woman
who fights back against real estate developers who try to buy her out of her home BY JORDAN MINTZER
ET U R N I NG TO T H E SE A SIDE BR A ZI L I A N N EIGH BOR HOOD
of his memorable dramatic debut, Neighboring Sounds, but
focusing this time on the life of a single aging resident — played
by an elegant and still very passionate Sonia Braga — who makes a final
stand against greedy real estate developers, Kleber Mendonca Filho’s
Aquarius is a very different beast than his precedent film, even if shares
the same colorful setting.
More classically composed and narrated, with a nostalgia for the sights
and sounds of old times, it is essentially a portrait of one woman holding
on to her dignity as others try to take away what’s most dear to her: the
apartment where she’s lived, loved and survived through various personal
trials. Leisurely paced and carried by Braga’s diva-like panache, it is not
quite the modernist narrative that fans of Sounds would expect, but could
appeal as a broader art house item — in the vein of Sebastian Lelio’s
Gloria — to be marketed to the senior set.
Recife, a midsized city located at the extreme eastern end of Brazil,
offers a mix of beachfront towers and more humble two-to-three-story
affairs that have managed to withstand the forces of speculative construction. It’s in one of those modest abodes that lives Clara (Braga), a retired
music critic and the last remaining resident in a building that has been
cleared out by ambitious developer Diego (Humberto Carrao), who plans
to knock it down and build yet another condominium.
For reasons that are mostly personal but also reflective of her taste for
classical music and classic rock — especially Queen, two of whose tracks
grace the film’s soundtrack — Clara declines Diego’s offer to buy her out
for a hefty sum (about $600,000) while ignoring the entreaties of her
daughter (Maeve Jinkings) to sell out and move on.
An opening sequence, set in 1979 and focusing on an aunt (Thaia Perez)
of Clara’s who lived in the apartment before her, shows how easily one
can grow attached to the surrounding walls and furniture — in this case
to a cupboard that sparks a flash of sexual memories in the older woman’s
mind. When we jump to the present and find Clara (whom viewers learn
survived breast cancer) sitting in the same place, it’s clear that she’s now
in the position of her aunt, looking back on her life from the home that
has been at the heart of it. (Clara has three kids and a few grandkids, but
often seems more attached to her personal independence than to them.)
Filho builds a rather straightforward story around Clara’s growing
resistance to Diego’s proposition, while revealing how a woman her age
copes with loneliness (the audience learns that her husband died years
ago) and the passing of time. For the former, the director offers up two
memorable scenes of elderly romance — the first involving an encounter
whose heavy make-out session ends abruptly; the second with a gigolo
whom Clara calls over to the apartment one night and certainly gets her
money’s worth out of.
Braga was a perfect choice to play someone stuck between an attachment to bygone times (especially to an LP collection of Brazilian and
international hits) and a desire to boldly keep going. She’s more tempered
here than in such classics as Kiss of the Spider Woman and Dona Flor and
Her Two Husbands (not to mention her memorable stint as Samantha’s
lesbian fling on Sex and the City), but still offers a few explosive scenes
amid a performance that underlines Clara’s resistance to the forces
around her — especially during a final chapter where she finally tries to
stick it to the man.
More airy in tone than Filho’s ambitious Sounds, which played like a
Brazilian Short Cuts with an avant-garde edge, Aquarius — whose title
is taken from the name of Clara’s building — may disappoint those who
appreciated the experimental nature of the last film, as there are only
a handful of moments here that head in that direction. Otherwise, this
endearing old-age drama works best as an earnest and colorful character
study, even if it hardly breaks new cinematic ground.
Tech credits include vibrant widescreen cinematography by Pedro
Sotero and Fabricio Tadeu that bathes the action in a warm and welcoming light, while a score of Clara’s favorite golden oldies constantly brings
the past into the present.
Competition
Cast Sonia Braga, Maeve Jinkings, Irandhir Santos, Humberto Carrao
Director Kleber Mendonca Filho // 145 minutes
D8_cannes_reviews4_C_FINAL.indd 24
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5/17/16 5:11 PM
Algeri and Scoccia are
teens who meet at a center
for troubled youth.
Fiore
Two Italian teens in a juvenile
detention center find love in
this middling romantic drama
BY DEBORAH YOUNG
D
ECA DE S A F T ER I T CA M E
into vogue, the French
New Wave still holds
allure for many young filmmakers, as is evident in the stylish but
overly familiar Fiore, recounting
the travails of love between two
attractive young delinquents in a
juvenile detention center. Claudio
Giovannesi, who directed several
second-year episodes of the popular Gomorrah series for Italian TV,
is no stranger to filming violence,
but the tone here is much closer
to Truffaut’s immortal ode to freedom The 400 Blows. Sadly missing
is that film’s tender poignancy.
The luminous presence of
newcomer Daphne Scoccia holds
the film together, though her teen
rebel from an underprivileged
background looks pretty traditional as far as characters go. We
first meet Daphne (Scoccia) in the
subway, where she works with an
accomplice stealing smartphones.
Her technique involves pressing
a knife to her victims’ throats,
and when she is caught a few
scenes later, there is no question
of her guilt and urgent need to be
reeducated.
The horrors of prison life, as
recounted in innumerable other
films, are largely absent. True,
the head warden is strict and
humorless, and all contact with
the boys’ ward in the building
next door is off limits. But that
doesn’t stop Daphne from getting
acquainted with the cool Josh
(Josciua Algeri), a tall boy who
notices her in the exercise yard.
When he convinces her to call his
ex and find out why she broke up
with him, it’s an obvious trigger
for romance.
The rest of the film moves
forward on the wave of their forbidden yet surprisingly innocent
feelings via smuggled love letters
and fleeting glances. Apart from a
quick kiss between the baby blue
prison bars and a romantic New
Year’s Eve dance, physical contact
is nil. Can love change their lives?
One would rather doubt it from
the silly, illogical ending.
More engaging are the scenes
of Daphne interacting with her
father (Valerio Mastandrea), who
himself has just been released
from prison. He’s still under house
arrest and living with an Eastern
European woman (Laura Vasiliu)
and her son, whom the girl
meets during visiting hours. The
tension between them culminates
compellingly.
Cast Daphne Scoccia, Josciua
Algeri, Valerio Mastandrea
Director Claudio Giovannesi
110 minutes
25
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REVIEWS
Su is an executioner
with hidden depths.
Apprentice
The second feature from Singaporean director Boo Junfeng is a
distinctive and insightful drama about an unlikely friendship
A
BY BOYD VAN HOEIJ
COR R ECT IONA L
officer’s relationship with
the chief executioner of the
prison where he works is fraught
with tension in Apprentice, the
second feature from Singaporean
filmmaker Boo Junfeng. Like the
32-year-old helmer’s well-received
first feature, the 2010 Critics’
Week contender Sandcastle, this
story fuses the intimate and the
political while exploring what
family ties mean and how they
relate to professional relationships. There’s no question that the
film will help boost Boo’s reputation as one of the region’s names
to watch.
When Malay correctional officer Aiman (Fir Rahman, stoically
intense) is asked, on his first day
of work at the nation’s highestsecurity prison, why he’s chosen
this profession, his answer is clear:
He wants to help those who want
to change. Why he feels this way is
one of the motors of the story and
has to do with his family history,
which is gradually revealed.
Initially, Boo uses very short,
broad brushstroke scenes that
jump back and forth between
Aiman, who’s not yet 30, settling
into his new job and the former
soldier living his rather commonplace domestic life with his older
sister, Suhaila (Mastura Ahmad),
in a modest suburban apartment.
Suhaila hasn’t told Aiman yet that
she hopes to move to Australia
soon with her steady boyfriend.
Meanwhile, at work, Aiman has
grown friendly with Malay colleague Rahim (Wan Hanafi Su),
the facility’s chief executioner.
Aiman’s fascination with Rahim
is ambiguous. Why does he want
to get closer to the executioner? Is
it a form of morbid fascination or
does he have a sinister plan in the
back of his head? Apprentice sticks
closely to Aiman’s compassionate
point of view, even if the reasons
behind his behavior are only gradually revealed. And audiences will
discover with Aiman that Rahim
isn’t the cold-blooded executioner
he’d imagined but someone who
takes pride in the humane way he
Tramontane
Vatche Boulghourjian’s debut feature is an ambitious though not entirely satisfying
look at the complex relationship between Lebanese citizens and their country
A
BY BOYD VAN HOEIJ
BL I N D M USICI A N’S N EED FOR A
passport to travel abroad sends him
on an unexpected voyage of discovery
in Tramontane (Rabih), the feature debut
from Kuwait-born Lebanese director Vatche
Boulghourjian. Screening in the Critics’ Week
sidebar, this is a tonally hushed but thematically ambitious drama that tries to draw
parallels between a blind bard’s journey to
uncover his ancestry and a nation’s problems
accepting its past. Though Boulghourjian
never quite manages to properly fuse the
personal and political, the film is compelling
thanks to the dignified lead performance of
visually impaired musician Barakat Jabbour.
Rabih (Barakat Jabbour), from a small village, attends a school for the blind, where he’s
also part of the choir and plays several instruments. When they plan to go to Europe for a
concert, he goes to the authorities to request
the passport he needs to travel abroad, but they
suspect his current ID might be forged. Rabih
asks his mother, Samar (Julia Kassar), to help
find his birth records so he can apply for new
papers but those seem to be missing, too. When
Mom admits she’s unable to do a blood test to
establish their relationship, things unravel.
Tramontane is driven by Rabih’s quest to find
out where he came from. Rabih travels the
country with the help of a kind taxi driver, following up every possible lead given to him by
his mother, his uncle Hisham (Toufic Barakat)
and the people he meets along the way. It
Jabbour (center) is a blind musician on a personal journey.
D8_cannes_reviews6/7_C.indd 26
treats the prisoners and who sees
his task as simply the last cog in
the Singaporean legal system that
needs to turn in order for the full
machine to work.
The film expertly uses the cinematography, courtesy of Benoit
Soler (Ilo Ilo), and James Page’s
production design to help suggest
something of Aiman’s progressively more troubled psyche and
his attempts to come to terms
with his duties toward his profession, his homeland and his family
without compromising his morals.
One of the film’s strongest
selling points is how it takes
viewers into both the world of the
executioners and the executed
criminals’ family members. It
remains to be seen how the rather
strict authorities in Singapore will
react to a feature that explores
such issues. But there’s no denying that the country has another
formidable filmmaking talent in
Boo Junfeng.
Un Certain Regard
Cast Fir Rahman, Wan Hanafi Su,
Mastura Ahmad, Koh Boon Pin,
Nickson Cheng, Crispian Chan,
Gerald Chew
Director Boo Junfeng
96 minutes
emerges that Rabih was born in 1988, during a
period that saw an intensification of the country’s sectarian and interregional conflicts (that
were in turn part of the Lebanese Civil War).
Tramontane never becomes overtly political,
and without a clearer and more detailed handle on how the past informs the present, the
main takeaways seem to be that war is messy
and bad things happened — a meager return
on a 105-minute investment.
Despite Jabbour’s magnetic screen presence, there’s hardly any sense of how the loss
of his sense of belonging to a particular family
or community has affected him. It’s abundantly clear in Boulghourjian’s screenplay that
the protagonist wants to know where he came
from. But what’s ignored to a large extent is
how Rabih feels about the fact that he might
have to redefine who he is. The only thing that
could suggest something about Rabih’s evolving inner state is the music that he performs,
though the significance of the choice of songs
is hard to read for nonspecialists.
Critics’ Week
Cast Barakat Jabbour, Julia Kassar,
Toufic Barakat
Director Vatche Boulghourjian // 105 minutes
26
5/17/16 5:01 PM
P ROMOTION
A Journey Through
French Cinema
Bertrand Tavernier takes us on a sprawling
voyage through his country’s film history
F
BY JORDAN MINTZER
SEE & BE SEEN
at the
OR MOST MOV IEG O -
ers, a shortlist of the
great French directors
usually includes New Wave
stalwarts Francois Truffaut,
Jean-Luc Godard and Eric
Rohmer at the top, followed
by singular auteurs Alain
Resnais, Robert Bresson and
Jacques Tati.
But there are a host of other
Gallic talents whose contributions to the seventh art are
perhaps just as vital — filmmakers whose work has been
unduly swept aside by modern
critical canons that have “a
certain tendency,” quoting
Truffaut, to see French cinema through the sole prism of
the Nouvelle Vague. It’s these
artists that veteran writerdirector Bertrand Tavernier
pays tribute to in A Journey
Through French Cinema
(Voyage a travers le cinema
francais), masterfully exploring some of the forgotten
glories of French movies in
the way that Martin Scorsese
shined a light on several
bygone American auteurs in
his A Personal Journey series.
In Journey Through French
Cinema, a three-hour-plus
documentary that should
find a home at festivals,
cinematheques and on cable
networks catering to film
lovers, Tavernier focuses
on a dozen or so auteurs,
showcasing their artistry in
hundreds of film clips that
he comments on with historical insight and aesthetic
precision. The first, and
perhaps most significant, of
the filmmakers he tackles is
Jacques Becker, a precursor
to the Nouvelle Vague, whose
tightly crafted genre films
were filled with stylistic flourishes that were “perfectly in
tune with the sentiments of
the characters,” in a body
of work that reflected how
much Becker “understood
French director Tavernier
analyzes his country’s cinema.
and assimilated the American
cinema” compared to other
directors of the time.
If there’s one through-line
that runs across Tavernier’s
sprawling study, it’s the
resurrection of the type of
movies made by Becker, but
also by Jean-Pierre Melville
and Claude Sautet, that mix
commercial appeal with something more personal, telling
the kind of genre stories that
art house filmmakers of the
New Wave and after would
gradually shy away from.
Although Tavernier mostly
concentrates on auteurs
whose movies clearly reflect
his own taste, he devotes
plenty of time to more widely
renowned artists, including
Jean Renoir and Jean Gabin.
If the work of the Nouvelle
Vague is less prominent here
than elsewhere, Tavernier
nonetheless gives Truffaut
and Godard their due when
detailing his earliest gigs
in the film industry. What
results from Tavernier’s
analysis is a vision of French
cinema that doesn’t ignore the
work of other contributors,
while revealing the artistry
of filmmakers whose popular
sensibilities go against the
notion of le cinema francais as
something freewheeling and
deeply individualistic.
Cannes Classics
Director Bertrand Tavernier
190 minutes
VENICE
INTERNATIONA L
FILM FESTIVA L
VENICE PREVIEW – 8/24 ISSUE
CLOSE: 8/17
THR.COM/VENICE
LIVE AUGUST 2016
CONTACT: UNITED STATES | Debra Fink | debra.fink@thr.com
EUROPE | Alison Smith | alison.smith@thr.com
Tommaso Campione | tommaso.campione@thr.com
Frederic Fenucci | frederic.fenucci@billboard.com | +44 7985 251 814
ASIA | Ivy Lam | ivy.lam@thr.com
AUSTRALIA/NEW ZEALAND | Lisa Cruse | lisa@spiritedmedia.co.nz
27
thrhaff_HPV_veniceseebeseen_2015.indd 1
D8_cannes_reviews8_B_FINAL.indd 27
MATERIALS: 8/18
4/5/16 10:18 AM
5/17/16 2:09 PM
FESTIVAL
SCREENING
GUIDE
TODAY
(MAY 18)
8:30 The Unknown Girl,
Belgium, 113 Min., Lumiere,
Wild Bunch, Competition
Tramontane, France,
105 Min., Miramar, The Bureau
Sales/Le Bureau, Critics’ Week
8:45 Two Lovers and a Bear,
Canada, 97 Min., Theatre
Croisette, TF1 International,
9:30 Sieranevada,
Romania, 175 Min., Olympia 3,
Elle Driver, Competition
9:45 Like Crazy, Italy, 116 Min.,
Palais I, Bac Films, Directors’
Fortnight
11:15 Inversion, Iran, 84 Min.,
Debussy, Noori Pictures,
Un Certain Regard
11:30 Julieta, Spain, 96 Min.,
Salle Du 60Eme, Filmnation
Entertainment, Competition
After Love, France,
98 Min., Olympia 6, Le Pacte,
French Tour, France,
95 Min., Palais J, Cite Films,
Exil, Cambodia, 77 Min.,
Riviera 2, Films Distribution,
Out of Competition
The Wailing, South Korea,
156 Min., Lumiere, Finecut Co.
Ltd., Out of Competition
Pericles the Black, Italy,
106 Min., Palais B, Rai Com,
Un Certain Regard
11:45 A Yellow Bird,
Singapore, 112 Min., Miramar,
Alpha Violet, Critics’ Week
Mercenary, France, 103 Min.,
Theatre Croisette, Be for Films,
Alpha Violet’s A Yellow Bird
12:00 Paterson, USA,
100 Min., Arcades 2, K5 Media
Group GMBH, Competition
14:00 After the Storm, Japan,
118 Min., Debussy, Wild Bunch,
Un Certain Regard
15:00 Dragees Au Poivre,
France, 93 Min., Salle Du
60Eme, Festival De Cannes,
Cannes Classics
French Tour, France,
95 Min., Theatre Croisette,
Cite Films, Directors’ Fortnight
15:30 Dogs, France,
104 Min., Palais D, Bac Films,
Un Certain Regard
Voir Du Pays, France, 102 Min.,
Bazin, Films Distribution, Un
Certain Regard
16:00 Ma’ Rosa, Philippines,
110 Min., Lumiere, Films
Distribution, Competition
Personal Shopper, France,
105 Min., Olympia 4, MK2
Films, Competition
Beyond the Mountains
and Hills, Israel, 90 Min.,
Olympia 5, The Match Factory,
Un Certain Regard
16:45 The Red Turtle, France,
Un Certain Regard
17:00 Personal Shopper,
France, 105 Min., Salle Du
60Eme, MK2 Films, Competition
A Yellow Bird, Singapore,
112 Min., Miramar, Alpha Violet,
Critics’ Week
Belgium, 113 Min., Lumiere,
Un Certain Regard
International,
Un Certain Regard
19:15 Le Cancre, France,
110 Min., Salle Du 60Eme, The
Open Reel, Out of Competition
22:30 Fiore, Italy, 105 Min.,
Arcades 1, Rai Com,
19:30 Bernadette Lafont,
and God Created the
Free Woman, France,
65 Min., Bunuel, Doc & Film
International, Cannes Classics
TOMORROW
(MAY 19)
Belgium, 113 Min., Salle
Du 60Eme, Wild Bunch,
Competition
20:30 Mercenary, France,
103 Min., Theatre Croisette, Be
for Films, Directors’ Fortnight
9:30 American Honey, United
Kingdom, 158 Min., Olympia
1, Protagonist Pictures,
Competition
It’s Only the End of the World,
Canada, 97 Min., Olympia
2, Seville International,
Competition
Sieranevada, Romania,
175 Min., Palais K, Elle Driver,
Competition
Wrong Elements, France,
Germany, Belgium, 133 Min.,
Palais J, Le Pacte, Out of
Competition
Voir Du Pays, France, 102 Min.,
Palais I, Films Distribution,
Un Certain Regard
21:00 Valley of Peace,
Slovenia, 88 Min.,
Bunuel, Festival De Cannes,
Cannes Classics
21:30 The Wailing,
South Korea, 156 Min.,
Olympia 1, Finecut Co. Ltd.,
Out of Competition
MARCHE BADGES ONLY
21:45 Aquarius, France,
140 Min., Salle Du 60Eme, SBS
International, Competition
Canada, 97 Min., Theatre
Croisette, TF1 International,
22:00 A Yellow Bird,
Singapore, 112 Min., Miramar,
Alpha Violet, Critics’ Week
The Wailing, South Korea, 156
Min., Salle Du 60Eme, Finecut
Co. Ltd., Out of Competition
D8_cannes_festivalguide_FINAL.indd 28
8:30 Graduation, France,
127 Min., Lumiere,
A Yellow Bird, Singapore,
112 Min., Miramar, Alpha Violet,
Critic’s Week
France, 105 Min., Lerins 3, MK2
Films, Competition
Clash, Egypt, 97 Min.,
Riviera 1, Pyramide
11:15 The Happiest Day in
the Life of Olli Maki,
Finland, 92 Min., Debussy,
Les Films Du Losange,
Un Certain Regard
11:30 It’s Only the End of
the World, Canada, 97 Min.,
Lumiere, Seville International,
Competition
Loving, United Kingdom,
123 Min., Olympia 2, Festival
De Cannes, Competitiona
Canada, 97 Min., Arcades 1,
TF1 International, Directors’
Fortnight
Le Cancre, France, 110 Min.,
Palais D, The Open Reel,
Out of Competition
Palais I, The Match Factory,
Un Certain Regard
11:45 Divines, France,
90 Min., Theatre
Croisette, Films Boutique,
12:00 Diamond
Island, France, 101 Min.,
28
5/17/16 10:11 PM
Riviera 1, Les Films Du
Losange, Critic’s Week
Fool Moon, France,
109 Min., Lerins 2, Alfama
Films, Out of Competition
12:30 Julieta, Spain,
96 Min., Olympia 1,
Filmnation Entertainment,
Competition
12:45 Harmonium,
Japan, 118 Min., Palais K, MK2
Films, Un Certain Regard
13:15 Dogs, France,
104 Min., Palais I, Bac Films,
Un Certain Regard
110 Min., Salle Du 60Eme, Films
13:45 Toni Erdmann,
Germany, 162 Min.,
Olympia 2, The Match Factory,
Competition
14:00 Pericles the Black,
Italy, 106 Min., Debussy,
Rai Com, Un Certain Regard
14:15 Hands of Stone,
USA, 114 Min., Palais J,
The Weinstein Co.,
Out of Competition
127 Min., Lumiere, Wild Bunch,
Competition
The Unknown Girl, Belgium,
113 Min., Olympia 1, Wild
Bunch, Competition
118 Min., Bazin, Wild Bunch,
Un Certain Regard
The Dancer, France, 106 Min.,
Palais I, Wild Bunch,
Un Certain Regard
110 Min., Lerins 3, Films
In Bed With Victoria, France,
99 Min., Riviera 1, Indie Sales,
Critic’s Week
Tramontane, France, 105 Min.,
Lerins 2, The Bureau Sales/
Le Bureau, Critic’s Week
16:00 The Park, France,
70 Min., Palais C, The Open
Reel, Acid
16:30 Fool Moon, France,
109 Min., Palais J, Alfama
The Happiest Day in the Life
of Olli Maki, Finland,
92 Min., Debussy, Les Films Du
Losange, Un Certain Regard
16:45 From the Land of
the Moon, France, 125 Min.,
Olympia 2, Studiocanal,
Competition
Paterson, USA, 100, Olympia
1, K5 Media Group GMBH,
Competition
17:00 The Death of
Louis XIV, Spain, 104 Min.,
Salle Du 60Eme, Capricci
17:15 The Student, Russia,
20:45 Divines, France, 90
Min., Theatre Croisette, Films
Boutique, Directors’ Fortnight
118 Min., Palais I, Wide,
Un Certain Regard
The Transfiguration, USA,
97 Min., Palais K, Protagonist
Pictures, Un Certain Regard
21:30 It’s Only the End
of the World, Canada,
97 Min., Olympia 1, Seville
MARCHE BADGES ONLY
17:30 Ma Loute, France,
122 Min., Lerins 1, Memento
Films International (MFI),
Competition
Endless Poetry, Chile,
128 Min., Lerins 3, Le Pacte,
Like Crazy, Italy, 116 Min.,
Riviera 2, Bac Films, Directors’
Fortnight
Canada, 97 Min., Lerins 2,
Fortnight
The Red Turtle, France,
80 Min., Bazin, Wild Bunch,
Un Certain Regard
22:00 The Family Whistle,
Italy, 65 Min., Bunuel, Festival
De Cannes, Cannes Classics
It’s Only the End of the
World, Canada, 97 Min.,
Lumiere, Seville International,
Competition
22:15 Pericles the Black, Italy,
106 Min., Debussy, Rai Com,
Un Certain Regard
103 Min., Arcades 1, Be for
Films, Directors’ Fortnight
127 Min., Lumiere, Wild Bunch,
Competition
24:00 Gimme Danger,
USA, 108 Min., Lumiere,
Independent, Out of
Competition
19:00 Hell or High Water,
USA, 102 Min., Olympia 1,
Sierra/Affinity, Un Certain
Regard
80 Min., Palais K, Wild Bunch,
Un Certain Regard
MAY 20
8:30 The Last Face, USA,
132 Min., Lumiere, Lionsgate,
Competition
19:30 Police Federale,
Los Angeles, USA, 118 Min.,
Bunuel, Festival De Cannes,
Cannes Classics
The Wailing, South Korea, 156
Min., Salle Du 60Eme, Finecut
Co. Ltd., Out of Competition
8:45 Dog Eat Dog, USA,
87 Min., Theatre Croisette,
Arclight Films, Directors’
Fortnight
127 Min., Palais K, Wild Bunch,
Competition
Ma Loute, France,
122 Min., Olympia 2,
Memento Films International
(MFI), Competition
Ma’ Rosa, Philippines,
110 Min., Olympia 1, Films
Palais J, The Open Reel,
Out of Competition
Gaumont’s The Neon Demon
9:45 Harmonium, Japan,
118 Min., Lerins 1, MK2 Films,
Un Certain Regard
10:00 The Together Project,
France, 83 Min., Riviera 2, Le
Pacte, Directors’ Fortnight
Dogs, France, 104 Min., Lerins
2, Bac Films, Un Certain Regard
11:00 Inversion, Iran, 84 Min.,
D8_cannes_festivalguide_FINAL.indd 29
Bazin, Noori Pictures, Un
Certain Regard
11:30 I, Daniel Blake,
United Kingdom, 97 Min.,
Olympia 1, Wild Bunch,
Competition
11:45 Aquarius, France,
140 Min., Olympia 2, SBS
Graduation, France, 127 Min.,
Salle Du 60Eme, Wild Bunch,
Competition
The Death of Louis XIV, Spain,
102 Min., Palais J, Capricci
12:00 The Neon Demon, USA,
117 Min., Lumiere, Gaumont,
Competition
My Life as a Courgette,
France, 66 Min., Riviera 1, Indie
Sales, Directors’ Fortnight
Inversion, Iran, 84 Min.,
Palais K, Noori Pictures,
Un Certain Regard
The Happiest Day in the Life
of Olli Maki, Finland, 92 Min.,
Palais I, Les Films Du Losange,
Un Certain Regard
13:00 The Happiest Day in
the Life of Olli Maki, Finland,
92 Min., Bazin, Les Films Du
Losange, Un Certain Regard
13:30 Agassi, The
Handmaiden, South Korea,
145 Min., Olympia 1, CJ E&M
Corporation/CJ Entertainment,
Competition
13:45 Hissein Habre,
A Chadian Tradegy, Chad,
80 Min., Palais J, Doc &
Film International, Out of
Competition
106 Min., Palais K, Rai Com,
Un Certain Regard
14:00 Clash, Egypt, 97 Min.,
Palais I, Pyramide International,
Un Certain Regard
Un Certain Regard
the World, Canada, 97 Min.,
Salle Du 60Eme, Seville
The Neon Demon, USA, 117
Min., Olympia 2, Gaumont,
Competition
29
5/17/16 10:11 PM
MARKET
SCREENING
GUIDE
TODAY
(MAY 18)
8:30 Tramontane, France,
105 Min., The Bureau Sales/
Le Bureau, Miramar
9:30 Sieranevada,
Romania, 175 Min., Olympia
3, Elle Driver, Competition
Happiness Is a Four-Letter
Word, South Africa, 90 Min.,
National Film & Video Foundation Of South Africa, Gray 4
Molly Monster, Germany,
70 Min., Global Screen
GMBH, Lerins 4
Tempest, Mexico, 105 Min.,
Cinephil, Doc Corner
The Northlander, Canada,
97 Min., Manifold Pictures,
Riviera 2
9:45 Like Crazy, Italy,
116 Min., Palais I, Bac Films,
10:00 Jaco, USA, 90 Min.,
Submarine Entertainment,
Gray 5
Listen, Lebanon, 101 Min.,
Fondation Liban Cinema,
Gray 3
Pictures Entertainment, Inc.,
Doc Corner
Go Home, France, 98 Min.,
Wide, Palais D
Griffith Film School 2016
Showcase, Australia,
110 Min., Griffith Film School,
Palais G
My Life as a Courgette,
France, 66 Min., Indie Sales,
Arcades 1
Not Short on Talent, Canada,
110 Min., Telefilm Canada,
Palais F
Remainder, United Kingdom,
97 Min., The Match Factory,
Olympia 7
Resurrection, Mexico,
93 Min., Mexican Film
Institute (Imcine), Gray 4
The Creative Mind Shorts,
110 Min., The Creative Mind
Group, Palais H
Too Hard to Handle,
Germany, 112 Min., Beta
Cinema, Lerins 4
10:30 Captain Fantastic,
USA, 120 Min., Sierra/Affinity,
Bazin
12:00 Paterson, USA, 100
Min., Arcades 2, K5 Media
Leaf Blower, Mexico, 96 Min.,
Habanero, Gray 5
SA Showcase, South Africa,
45 Min., National Film &
Video Foundation Of South
Africa, Gray 3
11:30 After Love, France,
98 Min., Olympia 6, Le Pacte,
106 Min., Palais B, Rai Com,
Un Certain Regard
French Tour, France, 95 Min.,
Palais J, Cite Films, Directors’
Fortnight
Exil, Cambodia, 77 Min.,
Riviera 2, Films Distribution,
Out of Competition
Behind “The Cove”, Japan,
105 Min., Metropolitan
13:30 Almost Paris, 93 Min.,
Odin’s Eye Entertainment,
Palais J
Animation Day in Cannes
Discoveries, United Arab
Emirates, 110 Min., Animaze
- Montreal International
Animation Film Festival,
Palais B
Fado, Germany, 100 Min.,
Wide, Palais D
One Breath, Germany,
96 Min., Arri Media
International, Lerins 4
Les Films Du Losange’s Diamond Island
Tagore’s Natir Puja - The
Court Dancer, India, 90 Min.,
Greta Joanne Entertainment,
Arcades 3
The Best Democracy
Money Can Buy, USA,
100 Min., 2 Bulls On the Hill
Productions, Doc Corner
Vakratunda Mahakaaya,
India, 89 Min., Maharashtra
Film, Stage & Cultural
Development Corporation
Ltd, Gray 4
14:00 Keeper of the Realm,
110 Min., Adler and
Associates Entertainment
Inc., Lerins 1
S Is for Stanley, Italy, 78 Min.,
Rai Com, Riviera 1
The Bear Tales, Italy, 67 Min.,
The Open Reel, Gray 5
The End, France, 85 Min.,
Gaumont, Arcades 2
The Tenants Downstairs,
Taiwan, 95 Min., Amazing
Film Studio, Gray 3
15:30 Dogs, France, 104 Min.,
Palais D, Bac Films, Un
Certain Regard
1962 My Country Land, India,
109 Min., Living Dreams,
Olympia 7
A Two Way Mirror, Croatia,
42 Min., Croatian Audiovisual
Centre, Palais B
Antardrishti, India, 101 Min.,
Flying River Films, Gray 4
Late Shift - Your Decisions
Are You, United Kingdom,
264 Min., Ctrlmovie, Palais J
Power to Change –
The Energy Rebellion,
Germany, 94 Min., Fechnermedia GMBH, Doc Corner
D8_cannes_marketguide_B_FINAL.indd 30
16:00 Deli Man, 92 Min.,
Galloping Films, Gray 3
Personal Shopper, France,
105 Min., Olympia 4, MK2
Films, Competition
Beyond the Mountains and
Hills, Israel, 90 Min., Olympia
5, The Match Factory, Un
Certain Regard
Presumed Guilty, USA,
87 Min., World Media Docs,
Palais C
Samuel Street, India,
80 Min., Arc Pictures, Palais I
Sophie’s Misfortunes, France,
104 Min., Gaumont,
Arcades 2
Summertime, Italy, 105 Min.,
Rai Com, Riviera 1
The Child of the Sahara,
93 Min., Adler and Associates
Entertainment Inc., Lerins 1
17:30 Curumim, 100 Min.,
Zazen Producoes, Palais J
Halal, India, 109 Min.,
Maharashtra Film, Stage &
Cultural Development
Corporation Ltd, Gray 4
Kalachakra - L’eveil, France,
83 Min., Leelame Production,
Doc Corner
Straight 8 2016, United
Kingdom, 80 Min., Altitude
Film Sales, Arcades 1
Two Zions: The Living Legacy
of Queen Sheba and King
Solomon, Ethiopia, 90 Min.,
Greta Joanne Entertainment,
Palais D
18:00 Bridge in Clouds,
China, 95 Min., Beijing Star
Dragon Movie, Palais K
Mangore, 101 Min., Adler and
Associates Entertainment
Inc., Lerins 1
Running by Runes,
Kazakhstan, 88 Min.,
Calligraphy Pictures, Palais C
The Cult, Brazil, 70 Min., The
Open Reel, Gray 5
The Last Five Days of a Director, 88 Min., Beijing Pisces
Culture Media Co.,Ltd, Gray 3
20:00 No Other Go, India,
64 Min., Waterfall Pictures,
Gray 5
Sac La Mort, France,
78, Acid, Arcades 1
You’ll Never Be Alone, Chile,
81 Min., Wide, Palais D
20:30 The Visitors: Bastille
Day, France, 109 Min., Gaumont, Palais K
21:30 The Wailing, South
Korea, 156 Min., Olympia 1,
Finecut Co. Ltd.,
Out of Competition
22:30 Fiore, Italy, 105 Min.,
Arcades 1, Rai Com, Directors’ Fortnight
Sac La Mort, France, 78 Min.,
Acid, Arcades 2
MAY 19
9:30 American Honey,
Olympia 1, Protagonist
Pictures, Competition
It’s Only the End of the
World, Canada, 97 Min.,
Olympia 2, Seville International, Competition
Voir Du Pays, France,
102 Min., Palais I, Films Distribution, Un Certain Regard
30
5/17/16 11:38 AM
Competition
175 Min., Palais K, Elle Driver,
Competition
Treasures, USA, 96 Min.,
Vision Entertainment,
Doc Corner
SND - Groupe M6, Lerins 3
France, 105 Min., Lerins 3,
MK2 Films, Competition
Clash, Egypt, 97 Min., Riviera
1, Pyramide International,
Un Certain Regard
6.9 on the Richter Scale,
Romania, 110 Min., Premium
Films, Lerins 2
Blood Father, USA, 88 Min.,
Wild Bunch, Olympia 4
Don’t Call Me Son, Brazil,
82 Min., Loco Films, Lerins 1
Merci Patron!, France,
84 Min., Jour2fete, Riviera 2
Mrs Right Guy, South Africa,
Africa, Gray 3
13:15 Dogs, France, 104 Min.,
Palais I, Bac Films, Un Certain
Regard
Fortnight
De Cannes, Competition
Palais D, The Open Reel, Out
of Competition
Beyond the Mountains and
Hills, Israel, 90 Min., Palais
I, The Match Factory, Un
Certain Regard
Death by a Thousand Cuts,
USA, 73 Min., Cinephil,
Doc Corner
Diamond Island, France,
101 Min., Riviera 1, Les Films
Du Losange, Critics’ Week
Free State, South Africa,
Africa, Gray 3
In the Forest of Siberia,
Italy, 100 Min., Other Angle
Pictures, Lerins 1
Miss Impossible, France,
90 Min., Doc & Film International, Riviera 2
The New Life of Paul
Sneijder, France, 115 Min.,
Olympia 1, Filmnation Entertainment, Competition
12:45 Harmonium, Japan,
118 Min., Palais K, MK2 Films,
Un Certain Regard
13:30 The Farmer and I,
13:45 Toni Erdmann, Germany, 162 Min., Olympia 2, The
Match Factory, Competition
14:00 Blood Father, USA, 88
Min., Wild Bunch, Olympia 4
Creditors, United Kingdom,
81 Min., New Morning Films,
Gray 5
Ukraine. Paralipomenon.
A Chronicle of Omissions,
Ukraine, 92 Min., Greta
Joanne Entertainment,
Gray 3
14:15 Hands of Stone, USA,
114 Min., Palais J, The Weinstein Co., Out of Competition
Belgium, 113 Min., Olympia 1,
15:00 Captain Fantastic,
USA, 120 Min., Sierra/Affinity,
Palais K
15:15 The Dancer, France,
106 Min., Palais I, Wild
Bunch, Un Certain Regard
15:30 Tramontane, France,
105 Min., Lerins 2, The Bureau Sales/Le Bureau, Critics’
Week
Ma’ Rosa, Philippines,
110 Min., Lerins 3, Films Distribution, Competition
In Bed With Victoria, France,
99 Min., Riviera 1, Indie Sales,
Critics’ Week
Clean Hands, Netherlands,
108 Min., Wide, Lerins 1
Power to Change –
The Energy Rebellion,
Tramontane, France,
105 Min., The Bureau Sales/
Le Bureau, Lerins 2
We Are Family, France,
98 Min., TF1 International,
Riviera 2
Like Crazy, Italy, 116 Min.,
Riviera 2, Bac Films, Directors’ Fortnight
Road to Istanbul, Algeria,
98 Min., Elle Driver, Riviera 1
16:00 The Park, France,
70 Min., Palais C, The Open
Reel, Acid
Kalushi, South Africa,
Africa, Gray 3
Kombissiri, France, 90 Min.,
Star Production, Palais E
La Trampa, Ecuador,
113 Min., Eclipse Producciones-Roseland S.A.,
Gray 5
19:00 Hell or High Water,
USA, 102 Min., Olympia 1, Sierra/Affinity, Un Certain Regard
80 Min., Palais K, Wild
Bunch, Un Certain Regard
109 Min., Palais J, Alfama
16:45 Paterson, USA, 100
Min., Olympia 1, K5 Media
From the Land of the Moon,
France, 125 Min., Olympia 2,
Studiocanal, Competition
17:15 The Student, Russia,
118 Min., Palais I, Wide, Un
Certain Regard
The Transfiguration, USA,
97 Min., Palais K, Protagonist
Pictures, Un Certain Regard
17:30 Ma Loute, France,
122 Min., Lerins 1, Memento
Films International (MFI),
Competition
Canada, 97 Min., Lerins 2,
Fortnight
Endless Poetry, Chile,
128 Min., Lerins 3, Le Pacte,
The World, Canada, 97 Min.,
Olympia 1, Seville International, Competition
103 Min., Arcades 1, Be for
Films, Directors’ Fortnight
TOMORROW
(MAY 19)
9:30 American Honey,
Olympia 1, Protagonist
Pictures, Competition
Inversion, 84 Min., Noori
Pictures, Olympia 2
Voir Du Pays, France,
102 Min., Palais I, Films Distribution, Un Certain Regard
Competition
175 Min., Elle Driver,
Competition, Palais K
Treasures, USA, 96 Min., Vision
Wild Bunch’s Blood Father
France, 105 Min., Lerins 3,
MK2 Films, Competition
Clash, Egypt, 97 Min., Riviera
1, Pyramide International,
Un Certain Regard
6.9 on the Richter Scale,
Country, 110 Min., Premium
Films, Lerins
Don’t Call Me Son, Brazil,
82 Min., Loco Films, Lerins 1
Merci Patron!, France,
84 Min., Jour2fete, Riviera 2
Mrs Right Guy, South Africa,
Africa, Gray 3
Fortnight
De Cannes, Competition
Palais D, The Open Reel,
Out of Competition
Palais I, The Match Factory,
Un Certain Regard
Death by a Thousand Cuts,
USA, 73 Min., Cinephil,
Doc Corner
Diamond Island, France,
101 Min., Riviera 1, Les Films
Du Losange, Critics’ Week
Free State, South Africa,
Video Foundation of South
Africa, Gray 3
In the Forest of Siberia,
Italy, 100 Min., Other Angle
Pictures, Lerins 1
Miss Impossible, France,
90 Min., Doc & Film International, Riviera 2
The Long Night of Francisco
Sanctis, Argentina, 80 Min.,
Films Boutique, Palais J
The New Life of Paul
Sneijder, France, 115 Min.,
SND - Groupe M6, Lerins 3
Olympia 1, Filmnation Entertainment, Competition
D8_cannes_marketguide_B_FINAL.indd 31
20:00 Mrs. B., A North
Korean Woman, France,
71 Min., Acid, Arcades 1
The Red Man, USA, 108 Min.,
The Red Man Film, Gray 5
Entertainment, Doc Corner
31
5/17/16 11:39 AM
8 Decades of The Hollywood Reporter
The most glamorous and memorable moments from a storied history
Cohen also
wore a
watch and
mustache
at Cannes
in 2006.
J
UST AS BR IGITTE BA R DOT
ignited an international
sensation at Cannes in
1953 when she strolled
along the beach in a bikini, the
2006 festival forever will be
linked to the debut of a piece of
skimpy swimwear. Sacha Baron
Cohen was 34 and still relatively
unknown to U.S. audiences at the
time, but that had the potential to
change with the world premiere
of Borat: Cultural Learnings of
America for Make Benefit Glorious
Nation of Kazakhstan, a risky
prank comedy in which the
comedian plays a clueless Kazakh
TV host who wreaks havoc on
unsuspecting American marks.
“Cannes, because it was the
first time it was seen in public,
was really the test run,” recalls
producer Jay Roach, who says
the Borat team was determined
to come up with a publicity stunt
“outrageous and funny enough to
be sent around the world.” Enter
Jason Alper, Cohen’s trusted
costume designer of nearly
two decades and the man who
dreamed up Ali G’s tracksuit and
Borat’s beige polyester suits. “I
was looking for something that
was going to be shocking, funny
and disgusting,” says Alper. “So I
thought, why don’t I put a thong
onto a weightlifter’s unitard?”
He mocked up a prototype of
what he dubbed the “man-thong”
and, having determined that “no
one has ever seen anything like
it before,” set about picking a
color for the final product. He
chose electric lime green, which
evoked the early ’80s. “Not many
men — not many people — can
wear that color. It’s very hard to
pull off, especially when you’re
6-foot-3 and hairy,” says Alper.
For the stunt, the star devised
a scenario in which Borat runs
along the sand and stumbles onto
a group of unsuspecting sunbathers. Recalls Roach: “These men
in small Speedos started yelling
at him in French, and before long
we had about 50 photographers
and videographers surrounding
D8_cannes_endpage_B_FINAL.indd 32
32
us. It created an incredible kind
of disturbance; pretty soon the
entire beach was packed with
people trying to figure out what
was going on.” Of course, the
ending was a happy one: The
$18 million movie went on to gross
nearly $262 million worldwide
and turn Cohen into a pretty big
movie star. He next can be seen
sporting a biker’s mustache in
Disney’s Alice Through the Looking
Glass, in which he plays Time. As
for the man-thong, it sits inside a
Plexiglas box in Cohen’s office.
— MAYA ANDERMAN
GEORGE PIMENTEL/WIREIMAGE
When Sacha Baron Cohen
Debuted the ‘Man-Thong’
5/17/16 11:52 AM
CineEurope D1 051116.indd 1
5/3/16 12:16 PM
MDA.indd 1
5/17/16 11:31 AM

cannes - We can`t sign you in

Transcription

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