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Post by stephen on May 15, 2019 13:19:08 GMT
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Post by stephen on May 15, 2019 17:35:23 GMT
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Post by fujiwarafan on May 15, 2019 19:58:37 GMT
The jury is really unbalanced. On one side you get experienced, well known and prized art house directors like Lanthimos, Inarritu, Rohrwacher and on the other one you get Fanning, still too unexperienced to be a Cannes jury member, Campillo, who is there for no apparent reason other than being "the French gay director who recently had a well received lgbt film" and the almost always present unknown African woman who is there just to add random diversity so that the President is not a called racist.
I personally am super super interested in Porumboiu (Romanians hardly get anything in Cannes), Bacurau and The Wild Goose Lake.
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Post by stephen on May 15, 2019 20:02:01 GMT
The jury is really unbalanced. On one side you get experienced, well known and prized art house directors like Lanthimos, Inarritu, Rohrwacher and on the other one you get Fanning, still too unexperienced to be a Cannes jury member, Campillo, who is there for no apparent reason other than being "the French gay director who recently had a well received lgbt film" and the almost always present unknown African woman who is there just to add random diversity so that the President is not a called racist. I personally am super super interested in Porumboiu (Romanians hardly get anything in Cannes), Bacurau and The Wild Goose Lake. I'd actually say this is one of the more balanced juries in recent memory. I still don't understand how someone can say that Fanning, who has more auteurs under her belt than most actresses twice her age and who literally grew up in the industry, is "still too unexperienced" to be a jury member. She's not that much younger than an average poster here, for example, and I trust her judgment more than I do someone like Xavier Dolan. As for Campillo and N'Diaye, the fact that they aren't as well-known doesn't matter. They bring a different perspective, which I think is definitely preferable to a strictly homogenous jury.
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Post by fujiwarafan on May 15, 2019 20:08:40 GMT
Come on, the average movie goer has not heard of any of those directors. At best, MAYBE Malick and that's it. The average moviegoer hasn't heard of Cannes either. Cannes has never been a festival for average moviegoers. No average moviegoers are booking trips to France to attend the Cannes film festival, and it's not like they would if it turned out that Marvel started premiering films there. These filmmakers aren't obscure or marginalized. They're well-known and beloved in the industry and in the film community, and the people who know what Cannes is and have more than shred of interest in it will be familiar with their names or at least some of their work. Not sure what's wrong with that. If anything, Cannes should make more of an effort to showcase work from lesser known auteurs. Why in the world would Cannes need to pander to average moviegoers? The problem of Cannes is that In Competition it has always the same 30 directors on rotation plus a few new entries.
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Post by Tommen_Saperstein on May 15, 2019 20:19:54 GMT
The average moviegoer hasn't heard of Cannes either. Cannes has never been a festival for average moviegoers. No average moviegoers are booking trips to France to attend the Cannes film festival, and it's not like they would if it turned out that Marvel started premiering films there. These filmmakers aren't obscure or marginalized. They're well-known and beloved in the industry and in the film community, and the people who know what Cannes is and have more than shred of interest in it will be familiar with their names or at least some of their work. Not sure what's wrong with that. If anything, Cannes should make more of an effort to showcase work from lesser known auteurs. Why in the world would Cannes need to pander to average moviegoers? The problem of Cannes is that In Competition it has always the same 30 directors on rotation plus a few new entries. oh I agree, that's why I wish they'd showcase even lesser known auteurs. Cannes is already an industry staple. It doesn't need to win new fans.
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Post by fujiwarafan on May 15, 2019 20:19:57 GMT
The jury is really unbalanced. On one side you get experienced, well known and prized art house directors like Lanthimos, Inarritu, Rohrwacher and on the other one you get Fanning, still too unexperienced to be a Cannes jury member, Campillo, who is there for no apparent reason other than being "the French gay director who recently had a well received lgbt film" and the almost always present unknown African woman who is there just to add random diversity so that the President is not a called racist. I personally am super super interested in Porumboiu (Romanians hardly get anything in Cannes), Bacurau and The Wild Goose Lake. I'd actually say this is one of the more balanced juries in recent memory. I still don't understand how someone can say that Fanning, who has more auteurs under her belt than most actresses twice her age and who literally grew up in the industry, is "still too unexperienced" to be a jury member. She's not that much younger than an average poster here, for example, and I trust her judgment more than I do someone like Xavier Dolan. As for Campillo and N'Diaye, the fact that they aren't as well-known doesn't matter. They bring a different perspective, which I think is definitely preferable to a strictly homogenous jury. I agree that it is not a bad jury per sé. We had WAY worse juries in the past (I don't remember every single name or every single year, but the 2015 one was atrocious and we got an equally atrocious Palmarès) so I don't complain. Still, I think it's unbalanced not because of the "known/unknown" split, but because they didn't achieve much in their own departments. Campillo is not there for his talent for sure. I'd like to see writers, stage directors, philosophers, someone who can raise the bar high. I like Fanning, by no means I consider her incompetent, but I think a jury member in such an important Festival still need additional maturity that comes with age and life in general.
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Post by stephen on May 15, 2019 22:28:52 GMT
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Post by fujiwarafan on May 16, 2019 10:49:17 GMT
Just in case, if we wanna do our own Palmarès as a game or we simply wanna predict it, here are the official rules: * Only one ex-aequo is allowed * The ex-aequo CANNOT be the Palm d'Or * A film can't win more than one prize, however the Prix du scenario and the Prix du jury can be matched with a Prix d'interpretation if the President of the Festival agrees under specific request from the President of the Jury.
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Post by eyebrowmorroco on May 16, 2019 14:16:29 GMT
The jury is really unbalanced. On one side you get experienced, well known and prized art house directors like Lanthimos, Inarritu, Rohrwacher and on the other one you get Fanning, still too unexperienced to be a Cannes jury member, Campillo, who is there for no apparent reason other than being "the French gay director who recently had a well received lgbt film" and the almost always present unknown African woman who is there just to add random diversity so that the President is not a called racist. I personally am super super interested in Porumboiu (Romanians hardly get anything in Cannes), Bacurau and The Wild Goose Lake. I'd actually say this is one of the more balanced juries in recent memory. I still don't understand how someone can say that Fanning, who has more auteurs under her belt than most actresses twice her age and who literally grew up in the industry, is "still too unexperienced" to be a jury member. She's not that much younger than an average poster here, for example, and I trust her judgment more than I do someone like Xavier Dolan. As for Campillo and N'Diaye, the fact that they aren't as well-known doesn't matter. They bring a different perspective, which I think is definitely preferable to a strictly homogenous jury. Allow me to interject an opinion. I don't necessarily have an issue with Elle Fanning being a juror, but I don't think experience in the industry is transferable. The jury is judging a finished product. The prerequisite for this should be a shitload of film watching. I've been on a Vincent Gallo kick. He talks about Scorsese not making a good film in 25 years, Coppola, Tarantino. Do you think he actually watches each and every Scorsese film in hope of the newest salvaging something? No, he's a curmudgeon. He just likes to stir. T o see the amount of films that these people purport to have seen, you'd have to forfeit a career, quit pursuing relationships, have no children, etc. I know whereof I speak. The average person may lead a balanced life and still get in 10 films a week, that's 520 films a year. If somehow you commit to this over a 10 year period, that's 5200 films. You're barely scratching the surface. If you're serious about your film viewing, none of these people in the industry would come close to what you've seen. And they're the ones judging. That's why I don't put any stock in their opinions; it's all nothing but fun.
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Post by stephen on May 16, 2019 16:57:28 GMT
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hilderic
Junior Member
Posts: 305
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Post by hilderic on May 16, 2019 22:05:56 GMT
Reviews for Mati Diop’s ghost story Atlantique: Why are some American critics obsessed with seeing controversy where there is none? Having your first feature film in competition at the Cannes Film Festival, whatever the time of screening, is an outstanding achievement, regardless of your nationality, gender or colour. This sounds all the more ridiculous because he is classifying Mati Diop on the basis of American racial notions (derived from the one-drop rule) which are foreign to mainstream thinking here in Europe. This is what Diop herself said on being called "the first black woman in the Cannes lineup":
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Post by stephen on May 17, 2019 1:15:03 GMT
Reviews for Ken Loach's Sorry We Missed You, coming in hot for what might be his third Palme:
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Post by Mattsby on May 17, 2019 3:02:48 GMT
Loach, along with Herzog, Lelouch, Bellocchio - I think that's it - are four filmmakers with new movies screening at Cannes over 50 years since their debuts. Love it and hope the others get a good amount of praise like Sorry We Missed You.
As for the Palme, I'm thinking Bong Joon-ho... but we'll see how reviews look, premieres same day as the QT...
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Lubezki
Based
the social distancing
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Post by Lubezki on May 17, 2019 3:05:43 GMT
Love how much this film seems to have meant to him. So excited to see his performance; what a talented lad.
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Post by stephen on May 17, 2019 17:59:14 GMT
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Post by stephen on May 17, 2019 18:07:14 GMT
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Post by IceTruckDexter on May 17, 2019 18:28:03 GMT
Sounds like a fine woman.
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Post by IceTruckDexter on May 17, 2019 18:30:22 GMT
Reviews for Ken Loach's Sorry We Missed You, coming in hot for what might be his third Palme: If that commie motherfucker wins again......
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Post by stephen on May 18, 2019 12:12:47 GMT
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Post by Mattsby on May 18, 2019 20:00:45 GMT
Herzog's Japanese-language Family Romance LLC getting mixed to mostly positive word so far. Herzog self-funded this movie and in a recent podcast said kind of endearingly that "it looks like a film made by a 19 year old." Todd McCarthy Hollywood ReporterPeter Bradshaw The Guardian 3/5 Stars Peter Debruge Variety
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morton
Based
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Post by morton on May 19, 2019 9:27:51 GMT
I'm too lazy to copy and paste them, but great reactions so far to The Lighthouse.
I can't see Willem Dafoe being nominated for it though, but with the last few years that he's had, maybe this year will finally be his year with maybe The Last Thing He Wanted.
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Sarah
New Member
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Post by Sarah on May 19, 2019 10:04:18 GMT
So whos here going on Once Upon a Time in Hollywood in Cannes?
Can we except any true deep reviews here?
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Post by pacinoyes on May 19, 2019 13:42:07 GMT
Like morton said, the word masterpiece is being tossed around a lot for The Lighthouse already, seems really major and really major in the darkest of ways - no sophomore slump and no regurgitation of the debut it seems. Damn......
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Post by stephen on May 19, 2019 13:42:18 GMT
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