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NYC Weekend Watch: Big-Screen Action, ‘Hyenas,’ Japanese New Wave & More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of the Moving Image

“See It Big! Action,” one of the finest genre retrospectives in recent memory, continues with screenings of The French Connection, Fury Road, and Bullitt.

Wallace & Gromit: The Curse of the Were-Rabbit plays throughout the weekend as part of an Earth Day celebration.

A series on 21st-century Latin American cinema continues with Third World this Sunday.
See full article at The Film Stage »

NYC Weekend Watch: Big-Screen Action, ‘House of Tolerance,’ Herzog, Trilogies & More

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

Museum of the Moving Image

“See It Big! Action,” one of the finest genre retrospectives in recent memory, is underway with screenings such as Raiders of the Lost Ark and Seven Samurai.

Wallace & Gromit: The Curse of the Were-Rabbit plays throughout the weekend as part of an Earth Day celebration.

Once undistributed for fear it would “incite racial tension,
See full article at The Film Stage »

Carlos (‘Caca’) Diegues Preps Next Film, ‘The Dame’ (Exclusive)

  • Variety
Carlos (‘Caca’) Diegues Preps Next Film, ‘The Dame’ (Exclusive)
Brazil’s Carlos (Cacá) Diegues, whose poem-inspired drama “The Great Mystical Circus” vies for a foreign-language Oscar next year, is in pre-production on “The Dame” starring Betty Faria (“Bye Bye Brazil”) and his daughter Flora Diegues, who stars in “…Mystical Circus.”

Diegues and Faria are both in Miami for the 22nd Brazilian Film Festival of Miami (Braff) (Sept. 14-23), which is paying tribute to Diegues.

The director describes “The Dame,” which he has been writing and developing for nearly three years, as a political thriller about a group of individuals who were once involved in the armed struggle against Brazil’s dictatorship in the 1970s. One day, they receive a mysterious invitation to celebrate New Years’ Eve at one of the grand mansions on the island of Paqueta, situated in the far west of Guanabara Bay, Rio de Janeiro. Faria plays the lady of the house.

Filming on Paqueta island
See full article at Variety »

Nelson Pereira dos Santos obituary

Film director who was regarded as ‘the father of Brazilian cinema’

Before the late 1950s Brazilian cinema had caused hardly a ripple worldwide. Then Nelson Pereira dos Santos, who has died aged 89, joined Ruy Guerra and Glauber Rocha to form the Cinema Novo co-operative, initiating exciting developments in Brazilian cinema that inspired political film-makers all over Latin America.

At the time Pereira, the oldest of the three film directors and always considered “the father of new Brazilian cinema”, was also the most experienced. He had already practised what Cinema Novo preached. Adopting Italian neo-realist principles of documentary-style location and shooting with non-professional actors, in 1955 Pereira had made Rio, 40 Degrees, which set the standard for independent cinema in Brazil.
See full article at The Guardian - Film News »

Rio Film Festival unveils 2016 line-up

  • ScreenDaily
Rio Film Festival unveils 2016 line-up
The Untamed and Toni Erdmann will screen at the 18th edition of the Brazilian event next month alongside tributes to the late David Bowie and Prince.

All in all 250 films from more than 60 countries in 15 sections will screen in 20 venues, including the new Olympic Boulevard unveiled for the recent summer Olympics.

Three new sections debut at this festival, which runs from set to run from October 6-16.

Cinema Marginal explores two critical Brazilian film movements, while Universal Monsters features seven restored Universal classics, and Wanderer Artists includes a tribute to Brazilian plastic artist Tunga.

Programmes include World Panorama, Première Brasil, Première Latina, Expectations, Generation, Midnight Movies & Docs, Frontiers, Threatened Environment and Unique Itineraries.

World Panorama selections include Ken Loach’s I, Daniel Blake and Mare Ade’s Toni Erdmann and Cristi Puiu’s Sieranevada.

Premiere Latina includes Venice selections The Blind Christ (Chile-France) by Christopher Murray’s and Amat Escalante’s The Untamed (pictured), as well as
See full article at ScreenDaily »

2016 Cannes Classics Line-Up Includes Restored Films By Kieślowski, Tarkovsky, Godard & More

Now that most of the Cannes Film Festival 2016 line-up has been settled when it comes to new premieres, their Cannes Classics sidebar of restored films is not only a treat for those attending, but a hint at what we can expect to arrive at repertory theaters and labels like Criterion in the coming years.

Today they’ve unveiled their line-up, which is toplined by Bertrand Tavernier‘s new 3-hour and 15-minute documentary about French cinema, Voyage à travers le cinéma français. They will also be screening William Friedkin‘s Sorcerer following his masterclass. Along with various documentaries, both classics in the genre and ones about films, they will also premiere new restorations of Andrei Tarkovsky‘s Solaris, Jean-Luc Godard‘s Masculin féminin, two episodes of Krzysztof Kieślowski‘s The Decalogue, as well as films from Kenji Mizoguchi, Marlon Brando, Jacques Becker, Mario Bava, and more.

Check out the line-up below.
See full article at The Film Stage »

LatinoBuzz Interview: Cuba’s Ivan Giroud, President of the Havana Film Festival

I have been visiting Cuba since 2000 when I went there to perfect my Spanish. My Spanish is still far from perfect but I have grown to love Cuba. Since I went there to learn and happened upon the Havana Film Festival which is held this year December 3rd to 13th, I have returned to the Festival every year and have found a world of great talent which increasingly is raring to get out into the world.

Ivan Giroud is a part of that Festival world and actually is now its most important part (aside from the films and filmmakers that is). Starting from zero, he is now considered one of the most qualified specialists in Latin American Cinema.

Read on to see who he is and how he sees Cuban and Latin American Cinema.

How did you get into film?

I was born in Havana in 1957.

I have loved cinema since I was very young. However I did not study film as there was no cinema school in Cuba until 1986.

I had a general education and graduated in Civil

Engineering from the Polytechnic Institute of Havana in 1981.

I am self-taught in film – what’s that called?

You are an autodidact.

Yes, an autodidact.

In the 70s, Cuba had the best cinema in the world and the best posters as well. These posters remained the finest posters in the world throughout the 70s, 80s and 90s.

Yes, they are silk-screened and on display and for sale. I myself treasure the poster of one o my favorite fims, “Suite Habana” by Fernando Pérez .

In my last year working as a civil engineer I contacted Icaic seeking employment. In 1981 friends in film, like Daisy Granados, the star of “Cecilia” gave me work on her film. I met her husband, Pastor Vega, a filmmaker who was also the first Director of the Festival from 1979 to 1990, a post he took after finishing “Portrait of Teresa” Pastor said ‘Come work with me’ and so in 1988 I entered the industry at the Cuban Institute of Cinematographic Art and Industry (Icaic), as a senior specialist and organizer of Cuban and Latin American cinema destined for Europe and North America. The job was like a programming job.

The International Festival of the New Latin American Film in Havana (aka Havana Film Festival) had sections for auteurs, socialist countries, American films and docs. It had the best films, was the preeminent film festival for Latin American cinema and was the only market where all of Latin America gathered to consider the films. It still remains a gathering place for the cineastes throughout Latin America and includes a well-respected coterie of the pioneers of Latin American cinema who created the films that best defined Latin America Cinema in the 60s and then were silenced by the dictatorships which prevailed until the 90s….like Raúl Ruiz, Aldo Francia, Patricio Guzmán and Miguel Littin from Chile, Glauber Rocha, Nelson Pereira dos Santos from Brazil Fernando Solanas and Octavio Getino from Argentina.

At the time of the Soviet collapse in 1991 (known in Cuba as “The Special Period”), I entered the Directorate of the Festival and Vega left and returned to filmmaking. There were other Directors, and in 1994 I became the Director. Alfredo Guevera, the public face of the festival for many years came back to Cuba and became President; we worked together from 1994 to 2010, my first term as the Festival Director.

The Special Period was very, very difficult, the worst of times for everyone and for all Latin American cinema. Brazilian cinema nearly disappeared. The state film organization Embrafilme had been producing 800 films a year and that disappeared for a long time.

Argentina declined in the 90s. Mexico remained active but also declined in the quality of its films. When I began as Director, Cuba was very poor, both economically and creatively. But there was also a generational change and I learned that every decline gives birth to a new generation and new creativity, and so it was.

Schools of films began training new talent. Eictv, the International Film School, funded by Gabriel Garcia Marquez’s Nobel Prize money opened its doors in 1987. New schools opened in Argentina and Brazil as well. The Havana Film Festival stood as a testimony to this growing generation as it showed the first works and shorts of the likes of Trapero and others in whom you could see new Latam talent developing.

The Havana Film Festival catalogs are a history of cinema as it was the biggest programmer of films. It still gives the best view of Latam cinema today. It is still important as it gives a full picture of Latam cinema and the people in Latam cinema. Eictv is producing the most interesting film makers in the world. For 37 years the Festival was the best, though today there are not many Latam fests. This one was different. You could get to know the whole cineaste community. It never lost a generation; the older members still make movies and the festival helps them to be seen and known.

In 2010 I went to Madrid where I spent five years. In 2002 I began working on a Dictionary of Iberoamerican Cinema. This 1,000 page book was finished in 2008. From 2008 to 2010 I was the director of the festival from Spain. I also ran an arthouse theater in Madrid, the Sala Berlanga, named after a very important Spanish director a little younger than Bunuel.

In 2012 I wanted to return to Cuba where I worked on the Cuban Dictionary of Film. In April Guevera died and Icaic pulled me back to be President and Director.

Since May 2013 I have been Director of the Casa del Festival and President of the International Festival of New Cinema in Havana.

What about the filmmaker Pavel Giroud? Is he your brother?

No, he’s my nephew. He came into the business a different way, through design. He began producing music clips and then went to Eictv. From a painter he evolved into a moviemaker. He has made three films. His newest, “El Acompañante” (“The Companion”) won the best project award at San Sebastian’s 2nd Europe-Latin America Co-production Forum in 2013.

This is Giroud’s third solo film after “The Silly Age” and “Omerta”. The producers: Luis Pacheco’s Jaguar Films is Panama’s best-known production/services company. The Cuban producer is Lia Rodriguez who also runs the industry section of the Havana Film Festival. It is also produced by the Cuba/ Panama-based Arete Audiovisual, Panama’s Jaguar Films, Venezuela’s Trampolin Impulso Creativo and France’s Tu Vas Voir (Edgard Tenembaum) who produced Walter Salles’ “The Motorcycle Diaries”.

Set in 1988 Cuba, “The Companion” is about a friendship between a disgraced boxer forced to serve as a warden – in Cuban government jingo-speak, a “companion” – for an HIV victim.

What is different about the current state of your festival?

Now there are many Latin American Film Festivals, but ours was and still is different because it allows you to know the whole cineaste community. We never lost a generation. The older generation still is making movies and the younger generation is very present. The Festival helps make them known.

What about the new developments between USA and Cuba?

That is the most asked question today.

We have always had U.S. films and U.S. citizens have always visited in cultural exchanges. We’ve had Gregory Peck, Jack Lemmon in the earliest years. We’ve invited Arthur Penn, Sean Penn, John Sayles, the Coen Brothers. Danny Glover and Benecio del Toro are frequent visitors. Annette Benning and Koch Hawk of the Academy were guests. We were always well connected to the U.S. independents so that is nothing new.

The change is that It will be easier for Americans to visit and to learn.

When I went to Cuba the first time, I was actually surprised to see so many Afro-Cubans. For some reason I assumed USA was the only nation with former slaves. I should have realized the Spanish also traded in slaves but only when I was in Cuba did I “get” it. Now I see the world so differently.

In Cuba black and white races mixed and the mixture (the mulatto) is what is a Cuban today. U.S. has segregation by and large. Latinos live together, Asian, African-Americans are all separated and that creates a totally different mentality.

I am very interested in African Diaspora films and Cuba has a lot. I have always enjoyed the documentaries. You can’t see them anywhere else.

This year there is a great documentary, “They are We" (“Ellos son nosotros”). It is anthropological about the Cuban town Matanza. Matanza has some of the best music in Cuba. It investigates their African roots in Sierra Leone and identifies ancestors and where they were from. Determined to find the exact origin of songs coming from there, the Australian filmmaker - researcher spent two years showing images throughout the region in Sierra Leonie until he confirmed that the Cubans were singing songs similar to the language of an ethnic group made extinct because of the slave trade.

I’ll send you the BBC article. (Read it here)

Thank you Ivan for this hour of your time. I am so happy to have finally connected with you after seeing you for so many years in Havana and in Toronto (where you stay with Helga Stephenson, the subject of an earlier post: Read it here )

More on Ivan:

Ivan has provided advice to other Latin American film festivals and has collaborated on research projects and screenplays, as well as in the production of theater and classical music. In 2008 he was invited to speak at the seminar Contributions of Latin American cinema to world cinema in the first American Film Congress held in Mexico City in the Congress book stories presented in common 40 years / 50 movies of Latin American cinema, of which he is one of its editors.

He was a visiting professor of the Master in Management of the Film Industry Carlos III University courses in 2010, 2011 and 2012. He is one of four directors of the Dictionary of Latin American Cinema; with Carlos F. Heredero, Eduardo Rodríguez Merchán, Benard da Costa and João project Sgae of Spain, consisting of 10 volumes and 16 thousand entries. Between 2008 and 2012 he was Director of audiovisual programming and Berlanga Room Buñuel Institute Foundation Author of Spain, a period in which he was international adviser Icaic.
See full article at SydneysBuzz »

Daily | Goings On | Crossroads, Pereira, Stanwyck

MoMA's retrospective Nelson Pereira dos Santos: Politics and Passion opens today and runs through April 17. Aaron Cutler has a quick primer on the Brazilian filmmaker in Artforum. More goings on: Barbara Stanwyck in Nashville, Wojciech Jerzy Has and Ben Rivers at Harvard, Paul Clipson and more experimental film at Crossroads in San Francisco, Paolo Gioli in New York and, in Los Angeles, Sam Fuller's cut of Dead Pigeon on Beethoven Street, screening with his daughter's documentary on him, A Fuller Life. » - David Hudson
See full article at Fandor: Keyframe »

Daily | Goings On | Crossroads, Pereira, Stanwyck

MoMA's retrospective Nelson Pereira dos Santos: Politics and Passion opens today and runs through April 17. Aaron Cutler has a quick primer on the Brazilian filmmaker in Artforum. More goings on: Barbara Stanwyck in Nashville, Wojciech Jerzy Has and Ben Rivers at Harvard, Paul Clipson and more experimental film at Crossroads in San Francisco, Paolo Gioli in New York and, in Los Angeles, Sam Fuller's cut of Dead Pigeon on Beethoven Street, screening with his daughter's documentary on him, A Fuller Life. » - David Hudson
See full article at Keyframe »

For Paulo Rocha

  • MUBI
2. For Paulo Rocha

Weekend 2 - Day 1 - December 13th, 2013

The second Harvard-Gulbenkian program centers around a vitally important yet still under appreciated figure of the post-WW2 Portuguese cinema, the late Paulo Rocha whose influential masterpiece of poetic neo-realism, Mudar de vida (1966) is offered both in tribute to his recent passing and as an occasion to reconsider Rocha's cinema and legacy. Looking beyond the historic "Cinema Novo" movement with which this film and Rocha himself are most closely associated, Mudar de vida is placed here within a broader, alternate context: in dialogue with the films and presence of Víctor Gaviria and Billy Woodberry, two directors inspired, like Rocha, to renew the promise of a truly "popular cinema" intimate with the stories, experiences and landscapes of the people depicted and ultimately empowered by their films. Unseen in Portugal, the films of Gaviria and Woodberry offer revelational compliments to Rocha's lyrical realism, each
See full article at MUBI »

Cinema Dialogues: Harvard at the Gulbenkian

  • MUBI
Mubi is proud to present work produced for Harvard at the Gulbenkian, a collaboration between the Calouste Gulbenkian Foundation and the Harvard Film Archive. Curated by Haden Guest and Joaquim Sapinho, and produced by Pedro Fernandes Duarte, Harvard at the Gulbenkian organizes a series of dialogues about Portuguese film and world cinema. The series consists of 12 weekends, between November 2013 and July 2014, in which a Portuguese filmmaker and one, two or three international filmmakers, and one or more important film critics or scholars of many nationalities are brought together for a series of screenings and public discussions. We will be hosting the articles and video conversations produced for the series, and this index will be updated as events take place in Lisbon.

"The inaugural weekend of the Harvard-Gulbenkian collaboration makes clear the central ambition and idea of our program: a radical rethinking and recontextualization of Portuguese cinema within the broader realm of world cinema.
See full article at MUBI »

The Doc Corner at Cannes and a Pick-Up

The Cannes Marche du Film has a new initiative, the Doc Corner, which allows buyers and programmers priority access to a digital video library including all documentaries presented in Cannes. Furthermore, the Documentary Brunch brings together the documentary film community in a friendly networking atmosphere.

The Doc Corner, has been showing new documentaries online and at their stand in the Palais in Cannes and some have connected with the Sales community here. This new initiative of Marche Directeur Delegue Jerome Paillard is designed to help Marche participants to find distribution, sales and festival play for their feature length (70 minutes plus) documentary new and completed films.

Among other services 220 completed documentary films are available to view only at the Doc Corner stand in the Palais.   After Cannes Fest and Marche finish in late May, all films will be available to screen online at the Marche website Cinando.com. All of the completed international films are available for all rights for sales, distribution and fests. These films are meant for cinemas, not "just" TV. There are also 'a few' docs here (12 in all) from the Marche adjacent event, Short Film Corner. Additionally 6 documentary features from Cannes Ff and also from the concurrent Critic's Week and Director's Fortnight events are here. There are also a running series of 'Meet With ...' events where an expert comes for group discussions with no more than 15 filmmakers who are pre-registered.  The idea 'Meet With...' sessions are to help films find sales, distribution and festival play worldwide. There are also documentary funding agencies here to discuss projects.  Among these are Cinereach / USA and Jan Vrijman Fund / Netherlands. Lastly, again this year the well attended 'Docu Brunch' will take place in the Majestic for several hundred attendees and docu experts to meet, mingle and network.

The Music According to Antonio Carlos Jobim, a new Portugese feature docu Directed by Nelson Pereira Dos Santos, is negotiating their sales deal now.

Half a century ago, Brazilian composer and musician Antonio Carlos Jobim (1927-1994) introduced bossa nova to a worldwide audience with ''The Girl from Ipanema.'' This musical collage of countless seamlessly edited excerpts of concert footage covers decades of events all over world. There is no commentary; the music speaks for itself. Picture postcards, private photos, official documents, posters, album covers, and sheet music complement the concert footage.

The film is in Portugese and English, 84 minutes.  It has now, in Cannes, screened twice, out of Competition.

The important Paris based international sales company Wide House has selected this film for its new documentary division.
See full article at SydneysBuzz »

Cannes Competition, Certain Regard, Critic's Week and Director's Fortnight By Numbers

Looking at the Cannes Film Festival Competition titles, the top international sales agents are Wild Bunch with with 3 films: The Angel’s Share by Ken Loach, Beyond the Hills by Cristian Mungiu and Holy Motors by Leos Carax. Wild Bunch actually has 12 films in all the festival sections including Critic's Week and not yet counting Director's Fortnight. MK2 follows with 3 in Competition: After the Battle by Yousry Nasrallah, Like Someone in Love by Abbas Kiarostami, On the Road by Walter Salles and 4 in all sections. FilmNation follows with 2 in Compeitition: Lawless by John Hillcoat and Mud by Jeff Nichols.

U.S. has 5 indies in Competition. Wes Anderson’s opening film Moonrise Kingdom (Isa: Focus), Jeff NicholsMud (Isa: FilmNation), Lee Daniels' The Paperboy (Isa: Nu Image/ Millenium), whose last feature Precious screened in Un Certain Regard in 2009, New Zealand director Andrew Dominik’s Killing Them Softly, Australia-born John Hillcoat’s Lawless (formerly titled The Wettest County). If you add Philip Kaufman's Hemingway and Gellhorn (HBO TV) which is out of competition, U.S. has 6.

Thierry Fremaux says, “What I also think is interesting is that none of these films are shot in New York or Los Angeles but rather in the South… they show another America.”

Latin America is represented by Mexico's favorite arthouse director (in Europe at least) Carlos Reygadas and his Post Tenebras Lux. Brazil's Walter Salles has made a French Brazilian English language film of American icon Jack Kerouac (On the Road) which might count on the Latin America scorecard. So. Korea has two films: The Taste of Money by Sang-Soo Im and In Another Country by Sang Soo Hong. No women are represented.

Late Addition (April 30): 1 Female Director Added Out of Competition: Candida Brady whose documentary Trashed (U.K.) has no international representation. That Makes 2 films without international sales representation. Midnight Screenings include The Sapphires by Wayne Blair (Australia), Maniac by Franck Khalfoun (U.S.) (Isa: Wild Bunch) Making 7 U.S. films.

Looking at Un Certain Regard sidebar of the Cannes Film Festival, 17 films hold a berth. 2 female directors are included: French Catherine Corsini of Trois Mondes and French Sylvie Verheyde of Confessions of a Child of the Century. Latin American films include La Playa the debut of Juan Andrés Arango (Brazil, Colombia, France), Después de Lucia by Michel Franco (France, Mexico), Elefante Blanco of Pablo Trapero (Argentina, France and Spain), A Musica Segundo Tom Jobim by Nelson Pereira Dos Santos (Brazil), Villegas by Gonzalo Tobal (Argentina, France, Netherlands).and if you can count the French production 7 Dias en la Habana by directors Benicio del Toro, Pablo Trapero, Julio Medem, Elia Suleiman, Juan Carlos Tabio, Gaspar Noé, Laurent Cantet, that will make a total of 6. 2 American indies are Beasts of the Southern Wild by Benh Zeitlin and The Central Park Five by directors Ken Burns, Sarah Burns, David Mcmahon. Late Additions (April 30): Djeca – Children of Sarajevo by Aida Bejic ♀ (Bosnia-Herzegovina, Germany, France, Turkey) Makes 3 female directors, and Gimme the Loot by Adam Leon (U.S.) Makes 3 U.S. indies. Closing night film will be Renoir by Gilles Bourdo (France) (Isa: Wild Bunch)

Looking at the Critic's Week, there are no women in Competition. All 7 Competition films are debuts by males. Two French female directors have films in Special Screenings by themselves in their own exclusive ghetto. Sandrine Bonnaire's second feature (but first fiction feature) J'enrage a son absence (I am Enraged by His Absence) (Isa: Films Distribution), and Alice Winocour's debut Augustine. 2 films are from Latin America: Argentinian Los Salvages (The Wild Ones) and Mexican-Spanish-u.S. coproduction Aqui y Alla. That is the only U.S. film. The sales agent with the most (2) films is Films Boutique. 4 Films have no international sales agents.

Looking at Directors Fortnight, Latin American films take the center stage in honor of the recently deceased Chilean director Raoul Ruiz. His most recent film The Night in Front (La Noche en Frente) will be premiered in a special tribute session.

"We have seen many good films from Latin America," said Fortnight artistic director Edouard Waintrop when introducing the 2012 selection to press in Paris. One of four scheduled debates will focus on Latin American cinema, with Waintrop saying this year's selection was "more sensitive to Latin American cinema than Asian [films]."

Of the 7 Latino films to make the list, two are Chilean -- Ruiz's The Night in Front and Pablo Larrain's No, a Chilean-American film starring Gael Garcia Bernal. The other five come from Mexico, Argentina, Uruguay, Colombia with 3 films La Playa, La Sirga (both by Burning Blue Productions! ♀) and a short film Jonathan Ceballos' short The Children of the Clouds (Los Ahijiados de las Nubes).

Films from South Korea, China, India, Algeria and Iran, Switzerland, Belgium and Luxembourg are also included in the selection. The United States was involved in the production of three of this year's movies, including Michael Gondry's The We and I, which opens the event.

Noemi Livovsky (Camille Rewinds from France) is one of two women directors! The second which makes hr the 4th in all Cannes Festivals is also the only non-French one. Yulene Olaizola (Fogo) is from Mexico.

For the Rights Roundup, you can begin watching sales of titles in Cannes here, organized by international sales agent. There will be daily updates throughout Cannes. It's interesting to see that sales on several Competition titles have already been made as presales.

Winners of the International Sales Agent with the Most Films in The Different Cannes Selections:

1st Place: Wild Bunch with 12

2nd Place: Pyramide with 5

3rd Place: MK2 with 3 which it also co-produced.

Honorable Mention: FilmNation with 2.
See full article at SydneysBuzz »

Cannes 2012: line-up announced

Cannes 2012: line-up announced
New films by Michael Haneke, Jacques Audiard, Lee Daniels, Abbas Kiarostami, Ken Loach and Wes Anderson are in competition at this year's festival

Cannes 2012 is shaping up to be an auteurs' reunion, with new films from old Croisette stagers such as Jacques Audiard, Ken Loach and Michael Haneke vying for this year's top honour, the Palme d'Or. Joining them in competiton are the likes of Walter Salles, Leos Carax, David Cronenberg, Thomas Vinterberg, Lee Daniels and Wes Anderson, whose Moonrise Kingdom is the first opening night film to be also in competition since 2008's Blindness.

Rust and Bone, the latest from Audiard, whose A Prophet won the Grand Prix in 2009, was long a shoo-in for a competition spot; ditto Haneke with Love, which reunites him with Piano Teacher Isabelle Huppert, and Abbas Kiarostami with Like Someone in Love. Matteo Garrone's followup to Gommorah is another welcome inclusion. Loach returns with The Angels' Share,
See full article at The Guardian - Film News »

Happy 65th Anniversary Cannes Film Festival! Check Out the Official Selection List! Is There An "Artist" in the Making?

1,779 films were submitted to be included as an Official Selection of the 2012 Cannes Film Festival but in the end, only 54 films made it. From competition to Un Certain Regard to midnight screenings (I especially want to see Dario Argento's "Dracula" from the midnight screening category), here's your full list!

The Cannes Film Festival is taking place from May 16th to the 27th. Last year, "Drive," "We Need to Talk About Kevin," "Melancholia," "The Artist," and "The Tree of Life" all wowed festival attendees and ultimately made an impact on the year-end award-giving bodies (with "The Artist" ultimately taking the grand prize of them all -- the Best Picture Oscar). We'll see if the latest crop of Cannes films will have the same staying power as Michel Hazanavicius' "The Artist." (visit the official Festival de Cannes site right here)

2012 Cannes Film Festival Official Selection

Competition:

Moonrise Kingdom, dir: Wes Anderson

Rust & Bone,
See full article at Manny the Movie Guy »

Cannes 2012. Lineup

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Cannes 2012. Lineup
Cosmopolis

So we've known for some time now that Wes Anderson's Moonrise Kingdom will be opening the Cannes Film Festival (site) on May 16. Yesterday, the Festival announced that Thérèse Desqueyroux, Claude Miller's final film, will close this year's edition on May 27. Miller's adaptation of François Mauriac's novel Thérèse Desqueyroux features Audrey Tautou in the title role as well as Gilles Lellouche and Anaïs Demoustier.

And lineups for the Short Films Competition and the Cinéfondation Selection were unveiled on Tuesday. Jean-Pierre Dardenne will preside over the Jury.

Today, the Festival's announced the full lineup for the Official Selection of its 65th anniversary edition. This is a roundup-in-progress, obviously.

Competition

Wes Anderson's Moonrise Kingdom. The synopsis at the official site: "Set on an island off the coast of New England in the summer of 1965, Moonrise Kingdom tells the story of two 12-year-olds who fall in love, make a secret pact,
See full article at MUBI »

The 65th Cannes Film Festival Line-Up

The 65th Cannes Film Festival has just announced its line-up of 53 films across four categories with some extremely impressive titles on offer including the latest efforts from filmmakers like Wes Anderson, David Cronenberg, Lee Daniels, Andrew Dominik, John Hillcoat, Walter Salles, Abbas Kiarostami, Ken Loach, Jacques Audiard, Bernardo Bertolucci, Matteo Garrone, Dario Argento, Xavier Dolan, Carlos Reygadas, Takashi Miike and Jeff Nichols.

More titles will likely be added in the coming weeks before the festival runs from May 16th-27th. Here's the ones we know of so far:

Opening Night Film:

"Moonrise Kingdom" - Dir. Wes Anderson

Closing Night Film:

"Therese Desqueyroux" - Dir. Claude Miller

In Competition:

"After the Battle (Baad el Mawkeaa)" - Dir. Yousry Nasrallah

"The Angels' Share" - Dir. Ken Loach

"Beyond the Hills" - Dir. Cristian Mungiu

"Cosmopolis" - Dir. David Cronenberg

"Holy Motors" - Dir. Leos Carax

"The Hunt (Jagten)" - Dir. Thomas Vinterberg

"In Another Country" - Dir.
See full article at Dark Horizons »

Cannes 2012 Line-Up Revealed With New Films From Dominik, Kiarostami, Nichols, Audiard, Haneke & More

After we got the news last night via a trailer that David Cronenberg‘s Cosmopolis would be joining the Cannes line-up, the rest of the titles have been revealed. It’s a strong one, with Andrew Dominik‘s Assassination of Jesse James follow-up being my most-anticipated of the bunch, along with the next features from Abbas Kiarostami (Certified Copy) and Jacques Audiard (A Prophet). We’ve also got new films from Michael Haneke, Take Shelter’s Jeff Nichols, Lee Daniels, Ken Loach, John Hillcoat and Walter Salles.

There are a good amount of rumored titles missing, as Paul Thomas Anderson‘s The Master, new Terrence Malick, Derek Cianfrance’s The Place Beyond the Pines and Park Chan-wook’s Stoker are nowhere to be found. We’ll have to wait until fall festival debuts for that batch, most likely. Playing in other categories we’ve got midnight films from Dario Argento
See full article at The Film Stage »

Cannes 2012 Film Line-Up: Rust & Bone, Amour

Marion Cotillard in Jacques Audiard's Rust & Bone In Competition Jagten (The Hunt) by Thomas Vinterberg Paradies: Liebe by Ulrich Seidl On The Road by Walter Salles Post Tenebras Lux by Carlos Reygadas Vous N'avez Encore Rien Vu by Alain Resnais Mud by Jeff Nichols Baad El Mawkeaa (Apres La Bataille) by Yousry Nasrallah Beyond The Hills by Cristian Mungiu Like Someone In Love by Abbas Kiarostami Da-reun Na-ra-e-suh by Sangsoo Hong Amour by Michael Haneke Lawless by John Hillcoat Reality by Matteo Garrone Im Nebel (Dans La Brume) by Sergei Loznitsa Cosmopolis by David Cronenberg Holy Motors by Leos Carax Killing Them Softly by Andrew Dominik The Paperboy by Lee Daniels De Rouille Et D'Os by Jacques Audiard Moonrise Kingdom by Wes Anderson   Out of Competition Une Journee Particuliere by Gilles Jacob and Samuel Faure Io E Te by Bernardo Bertolucci Madagascar 3, Europe's Most Wanted by Eric Darnell
See full article at Alt Film Guide »

2012 Cannes Film Festival Lineup Announced

This morning the official 2012 Cannes Film Festival line-up was announced after the selection committee saw 1,779 films submitted from 26 different countries. Of those, 54 have been chosen (so far) including the opening night film which will be Wes Anderson's Moonrise Kingdom and the closing night film comes from the late Claude Miller's Therese D. starring Audrey Tautou. Looking over the list the most universally recognized names are among a stacked competition list that includes the likes of Wes Anderson, Jacques Audiard, Leos Carax, David Cronenberg, Lee Daniels, Andrew Dominik, Matteo Garrone, Michael Haneke, John Hillcoat, Sangsoo Hong, Sangsoo Im, Abbas Kiarostami, Ken Loach, Cristian Mungiu, Jeff Nichols, Alain Resnais, Walter Salles and Thomas Vinterberg. Those names alone should pique any film fans interest and that's just the competition. Go exploring further and you'll find David Cronenberg's son Brandon Cronenberg along with the likes of Xavier Dolan, Bernardo Bertolucci, Fatih Akin
See full article at Rope Of Silicon »
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