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Post by stephen on May 17, 2017 13:59:34 GMT
Well, here we are: the start of the 2017 awards season. In a few hours, we'll be kicking off with Cannes and the first reviews of the opening day's films should be coming down. So post all reviews, pertinent tweets on films/events, and predictions from both yourself and any pundits here.
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Post by Martin Stett on May 17, 2017 17:34:58 GMT
I've never bothered to look through reviews/tweets (I doubt I shall ever understand Twitter), I just come here to look at them. I'm showing my support though, so y'all know that someone is reading.
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Post by thomasjerome on May 17, 2017 18:18:43 GMT
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Post by bobbystarks on May 17, 2017 18:43:12 GMT
OHHHHHH BOI
My favorite time of the year. Let's do this.
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Post by stephen on May 17, 2017 19:21:06 GMT
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Post by stephen on May 17, 2017 19:30:04 GMT
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Post by Deleted on May 17, 2017 19:58:54 GMT
Loveless reactions are out
Jordan Ruimy @mrruimy 27s28 seconds ago Andrey Zvyagintsev's LOVELESS is staggering with its slow-burning mystery, pitch perfect tone and nuanced character buildup #Cannes2017
Peter Debruge @askdebruge I'm gonna have to sit with Andrey Zvyagintsev's LOVELESS for a while. #Cannes2017
erickohnVerified account @erickohn 3m3 minutes ago LOVELESS: Well, that's certainly an accurate title. Dreary and intelligent, but it's no LEVIATHAN. #Cannes2017
Gregory Ellwood @thegregorye Loveless uses family drama about 2 bad parents on verge of divorce whose son goes missing as allegory for contemporary Russia. Fine. #cannes
Richard Lawson ✔ @rilaws LOVELESS, Andrey Zvyagintsev's mesmerizing satire/fable about an aimless modern Russia, is sharp and searching. Really liked it #Cannes2017
Jason Gorber ✔ @filmfest_ca LOVELESS - harrowing family drama w Rich political & psychological import, a deeply moody and effective slice of Russian culture #cannes2017
Tim Grierson ✔ @timgrierson LOVELESS: If a child of miserable parents goes missing, was he ever alive at all? Zvyagintsev's slow-burn moral drama stuns. #Cannes2017
David Jenkins @daveyjenkins Loveless (Zvyagintsev) Awful people being awful for a reeeeally long time w/ all highways leading to suffering. Not for me at all. #Cannes70
Jordan Farley @jordanfarley Loveless shows the tedium, frustration and despair of a missing person investigation. Makes Prisoners look upbeat #Cannes2017 #Cannes70
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Post by stephen on May 17, 2017 20:03:23 GMT
Loveless reactions are out Jordan Ruimy @mrruimy 27s28 seconds ago Andrey Zvyagintsev's LOVELESS is staggering with its slow-burning mystery, pitch perfect tone and nuanced character buildup #Cannes2017 Peter Debruge @askdebruge I'm gonna have to sit with Andrey Zvyagintsev's LOVELESS for a while. #Cannes2017 erickohnVerified account @erickohn 3m3 minutes ago LOVELESS: Well, that's certainly an accurate title. Dreary and intelligent, but it's no LEVIATHAN. #Cannes2017 Gregory Ellwood @thegregorye Loveless uses family drama about 2 bad parents on verge of divorce whose son goes missing as allegory for contemporary Russia. Fine. #cannes Richard Lawson ✔ @rilaws LOVELESS, Andrey Zvyagintsev's mesmerizing satire/fable about an aimless modern Russia, is sharp and searching. Really liked it #Cannes2017 Jason Gorber ✔ @filmfest_ca LOVELESS - harrowing family drama w Rich political & psychological import, a deeply moody and effective slice of Russian culture #cannes2017 Tim Grierson ✔ @timgrierson LOVELESS: If a child of miserable parents goes missing, was he ever alive at all? Zvyagintsev's slow-burn moral drama stuns. #Cannes2017 David Jenkins @daveyjenkins Loveless (Zvyagintsev) Awful people being awful for a reeeeally long time w/ all highways leading to suffering. Not for me at all. #Cannes70 Jordan Farley @jordanfarley Loveless shows the tedium, frustration and despair of a missing person investigation. Makes Prisoners look upbeat #Cannes2017 #Cannes70 Interesting. Sounds weighty enough, which is expected from Zyvagintsev, but I wonder if it might be too dour to take the big prize. It also doesn't seem to have inspired too much passion, at least from these initial tweets.
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Post by Deleted on May 17, 2017 20:05:59 GMT
Loveless reactions are out Jordan Ruimy @mrruimy 27s28 seconds ago Andrey Zvyagintsev's LOVELESS is staggering with its slow-burning mystery, pitch perfect tone and nuanced character buildup #Cannes2017 Peter Debruge @askdebruge I'm gonna have to sit with Andrey Zvyagintsev's LOVELESS for a while. #Cannes2017 erickohnVerified account @erickohn 3m3 minutes ago LOVELESS: Well, that's certainly an accurate title. Dreary and intelligent, but it's no LEVIATHAN. #Cannes2017 Gregory Ellwood @thegregorye Loveless uses family drama about 2 bad parents on verge of divorce whose son goes missing as allegory for contemporary Russia. Fine. #cannes Richard Lawson ✔ @rilaws LOVELESS, Andrey Zvyagintsev's mesmerizing satire/fable about an aimless modern Russia, is sharp and searching. Really liked it #Cannes2017 Jason Gorber ✔ @filmfest_ca LOVELESS - harrowing family drama w Rich political & psychological import, a deeply moody and effective slice of Russian culture #cannes2017 Tim Grierson ✔ @timgrierson LOVELESS: If a child of miserable parents goes missing, was he ever alive at all? Zvyagintsev's slow-burn moral drama stuns. #Cannes2017 David Jenkins @daveyjenkins Loveless (Zvyagintsev) Awful people being awful for a reeeeally long time w/ all highways leading to suffering. Not for me at all. #Cannes70 Jordan Farley @jordanfarley Loveless shows the tedium, frustration and despair of a missing person investigation. Makes Prisoners look upbeat #Cannes2017 #Cannes70 Interesting. Sounds weighty enough, which is expected from Zyvagintsev, but I wonder if it might be too dour to take the big prize. It also doesn't seem to have inspired too much passion, at least from these initial tweets. Yeah, so much for my Palme prediction turning out right Zyvagintsev is a Cannes veteran, but you're right that this really doesn't sound like a Palme contender from initial reactions, and the troublesome misery probably won't play well to a jury with Will Smith, Maren Ade, and Chastain
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Post by stephen on May 17, 2017 20:07:08 GMT
Interesting. Sounds weighty enough, which is expected from Zyvagintsev, but I wonder if it might be too dour to take the big prize. It also doesn't seem to have inspired too much passion, at least from these initial tweets. Yeah, so much for my Palme prediction turning out right Zyvagintsev is a Cannes veteran, but you're right that this really doesn't sound like a Palme contender from initial reactions, and the troublesome misery probably won't play well to a jury with Will Smith, Maren Ade, and Chastain Then again, none of us expected the Dolan last year to get a prize. Juries are fickle and sometimes don't give a shit about critics; could be that Will Smith loves misery porn.
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Post by Deleted on May 17, 2017 20:10:39 GMT
Yeah, so much for my Palme prediction turning out right Zyvagintsev is a Cannes veteran, but you're right that this really doesn't sound like a Palme contender from initial reactions, and the troublesome misery probably won't play well to a jury with Will Smith, Maren Ade, and Chastain Then again, none of us expected the Dolan last year to get a prize. Juries are fickle and sometimes don't give a shit about critics; could be that Will Smith loves misery porn. That would explain Suicide Squad and Collateral Beauty
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Post by stephen on May 18, 2017 1:53:15 GMT
Already getting some fascinating insight into the jury, as Pedro Almodovar and Will Smith clash over the Netflix issue: link
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Post by Martin Stett on May 18, 2017 4:01:41 GMT
Already getting some fascinating insight into the jury, as Pedro Almodovar and Will Smith clash over the Netflix issue: linkI'm more on Smith's side here. To get a major point of my own cinema experience out of the way: I have only seen a handful of movies in the cinema. Ever. I could probably name each one and the circumstances around me watching them.* I'm fairly poor, I don't live very near any sort of big city or cultural hub (the District of Columbia is around two hours away if I take Metro), and I have always discovered my movies and books at the same place: the local library. I searched for Only Yesterday when it released, and it didn't play ANYWHERE. I missed my one chance to watch The Tale of the Princess Kaguya on a day off when I got lost in endless traffic signals looking for the cinema from my home. I have never had the luxury of watching stuff on the big screen. And in my limited experience... there is nothing special about it. The audience is often crap, first of all, and that ruins the experience. If you're lucky enough to get an empty or respectful house, that's great, but it's only happened two out of four times for me. And those two times were contrasting experiences as well: once I had an empty house on a pretty small screen with a very quiet movie ( The Wind Rises) -- and the movie playing next door was so loud that I could hear it reasonably well (I could make out words) during some of the quietest, most understated scenes of the movie I was supposed to be watching. The other time was Arrival, which was a Hollywood production and was playing in one of those fancy big theaters. Fairly empty because we watched during the day, and the crowd was actually intent on watching the movie. Even though I disliked the film, I understand what Almodovar is saying because of that one experience. The images were larger than life, the sound was thunderous and surrounded me. It was great. But to discount entire pieces of art simply because they don't play in cinemas is silly. Independent cinema is not an option for the vast majority of people outside of cultural hubs. Home watching is the only way we can do this. Blame the studios, blame the moviegoers themselves, I don't care. I don't have a choice, so I shall keep watching at home unless there is a discount or a special movie that I desperately want to watch in its full glory. * The Chronicles of Narnia: The Lion, the Witch and the Wardrobe -- My family wound up getting free tickets somehow. Ender's Game -- I'm a fan of the novel and made sure to watch it in the theater, even though it looked like crap. It was crap. The Wind Rises -- I desperately wanted to watch Miyazaki on the big screen, so I found the one theater within sixty miles that was playing this and went on the last day it was showing. Arrival -- My mom got half price tickets to see something at a multiplex near her office, and I jumped on this over her protestations (she wanted to watch Billy Lynn's Long Halftime Walk). I had to admit afterwards that her initial impression of it as standard, schlocky sci-fi fare was spot-on and accepted defeat. No damn way will I watch A Dog's Purpose with her, though. Hell no, woman, find someone else to watch that with you.
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Post by stephen on May 18, 2017 4:27:56 GMT
Already getting some fascinating insight into the jury, as Pedro Almodovar and Will Smith clash over the Netflix issue: linkI'm more on Smith's side here. To get a major point of my own cinema experience out of the way: I have only seen a handful of movies in the cinema. Ever. I could probably name each one and the circumstances around me watching them.* I'm fairly poor, I don't live very near any sort of big city or cultural hub (the District of Columbia is around two hours away if I take Metro), and I have always discovered my movies and books at the same place: the local library. I searched for Only Yesterday when it released, and it didn't play ANYWHERE. I missed my one chance to watch The Tale of the Princess Kaguya on a day off when I got lost in endless traffic signals looking for the cinema from my home. I have never had the luxury of watching stuff on the big screen. And in my limited experience... there is nothing special about it. The audience is often crap, first of all, and that ruins the experience. If you're lucky enough to get an empty or respectful house, that's great, but it's only happened two out of four times for me. And those two times were contrasting experiences as well: once I had an empty house on a pretty small screen with a very quiet movie ( The Wind Rises) -- and the movie playing next door was so loud that I could hear it reasonably well (I could make out words) during some of the quietest, most understated scenes of the movie I was supposed to be watching. The other time was Arrival, which was a Hollywood production and was playing in one of those fancy big theaters. Fairly empty because we watched during the day, and the crowd was actually intent on watching the movie. Even though I disliked the film, I understand what Almodovar is saying because of that one experience. The images were larger than life, the sound was thunderous and surrounded me. It was great. But to discount entire pieces of art simply because they don't play in cinemas is silly. Independent cinema is not an option for the vast majority of people outside of cultural hubs. Home watching is the only way we can do this. Blame the studios, blame the moviegoers themselves, I don't care. I don't have a choice, so I shall keep watching at home unless there is a discount or a special movie that I desperately want to watch in its full glory. * The Chronicles of Narnia: The Lion, the Witch and the Wardrobe -- My family wound up getting free tickets somehow. Ender's Game -- I'm a fan of the novel and made sure to watch it in the theater, even though it looked like crap. It was crap. The Wind Rises -- I desperately wanted to watch Miyazaki on the big screen, so I found the one theater within sixty miles that was playing this and went on the last day it was showing. Arrival -- My mom got half price tickets to see something at a multiplex near her office, and I jumped on this over her protestations (she wanted to watch Billy Lynn's Long Halftime Walk). I had to admit afterwards that her initial impression of it as standard, schlocky sci-fi fare was spot-on and accepted defeat. No damn way will I watch A Dog's Purpose with her, though. Hell no, woman, find someone else to watch that with you. Agreed. I can see what a purist like Almodovar is getting at, but the times are a-changin' and films are being made with the purpose of being enjoyed at more locations than the theater.
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Post by Deleted on May 18, 2017 6:56:39 GMT
Wonderstruck reactions in about 2 hours
Claire Denis in about 90 minutes
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Post by Deleted on May 18, 2017 7:40:05 GMT
This time is sooooo much better than the Oscars, and I like that a lot too.
Here's to hope somewhere in the world, Merc isn't giving two pints about Wonderstruck.
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Post by Deleted on May 18, 2017 8:30:19 GMT
VARIETY: Todd Haynes is a transcendent filmmaker, one who can haunt your imagination and carry you away, but in “Wonderstruck,” there’s more artistry in his storytelling than there is in the intricate mechanical story he’s telling. We’re watching a visionary humanist apply his luminous voice to a piece of emotional Tinkertoy. The film is based on an illustrated children’s novel by Brian Selznick, who wrote and drew “The Invention of Hugo Cabret,” which served as the basis for Martin Scorsese’s widely praised but — to me, at least — frenetic and overwrought gimcrack fantasy “Hugo” (2011).
THR: Todd Haynes is back with his past muse Julianne Moore, but it’s her junior co-stars who hold the spotlight in this enthralling adaptation of Brian Selznick’s illustrated novel for young readers.
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Post by Deleted on May 18, 2017 8:36:05 GMT
VARIETY: Todd Haynes is a transcendent filmmaker, one who can haunt your imagination and carry you away, but in “Wonderstruck,” there’s more artistry in his storytelling than there is in the intricate mechanical story he’s telling. We’re watching a visionary humanist apply his luminous voice to a piece of emotional Tinkertoy. The film is based on an illustrated children’s novel by Brian Selznick, who wrote and drew “The Invention of Hugo Cabret,” which served as the basis for Martin Scorsese’s widely praised but — to me, at least — frenetic and overwrought gimcrack fantasy “Hugo” (2011). THR: Todd Haynes is back with his past muse Julianne Moore, but it’s her junior co-stars who hold the spotlight in this enthralling adaptation of Brian Selznick’s illustrated novel for young readers. Yeah, too lightweight to win Palme d'Or then. And it's not like they have gone gaga for it, the critics
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Post by Deleted on May 18, 2017 8:52:06 GMT
Kyle Buchanan ✔ @kylebuchanan WONDERSTRUCK: Imagine a visually lavish, expensive Todd Haynes version of EXTREMELY LOUD & INCREDIBLY CLOSE
Niels Putman @nielsputman WONDERSTRUCK: A Spielberg-esque Tale Of Two Runaway Children. Pretty dull, very sentimental - far away from Haynes' best. #Cannes2017
Jason Gorber ✔ @filmfest_ca Haynes's childhood fable WONDERSTRUCK has stellar production design,but ponderous story not saved by Julianne Moore's luminance #Cannes2017
Richard Lawson ✔ @rilaws WONDERSTRUCK: From the writer of HUGO comes a Jonathan Safran Foer-esque bedtime story. Sometimes gorgeous, sometimes hokey. Hm. #Cannes2017
Peter Bradshaw @peterbradshaw1 Disappointmentstruck by Todd Haynes's twee YA fantasy Wonderstruck - review later #Cannes2017 #Cannes70
Alex Billington ✔ @firstshowing Wonderstruck - Very ambitious double narrative story of two deaf kids escaping to NYC. Partially dialogue free but a wonderful experience.
Tani Erdmann @tannerstechnij WONDERSTRUCK is definitely Haynes at his sweetest, but this is nothing short of a masterpiece -- technically and emotionally. MS is a star.
Gregory Ellwood @thegregorye Wonderstruck has stunning production design and beautiful score. Tender, but not as moving as you'd expect. Lead kid is weak. #cannes
FilmLand Empire @filmlandempire WONDERSTRUCK: I've just been struck by wonder. Delicate, bittersweet... sublime! #Cannes2017
david ehrlich ✔ @davidehrlich WONDERSTRUCK is incredible. A fable about breaking out of your body & connecting with the world. #Cannes2017 review:
Ken Adams @taybackx Ok, WONDERSTRUCK was pretty much everything I expected it to be and more. Intelligence abounds in vitrtually every damn frame. #cannes2017
Tomris LafflyVerified account @tomilaffly
Follow More #Wonderstruck: Awestruck by its ambitious craftsmanship. Pulls from Todd Haynes' career highlights, including Superstar in a way #Cannes2017
Tim GriersonVerified account @timgrierson
Follow More WONDERSTRUCK: Todd Haynes makes a kids' movie his way. Smart, tender, not too sappy. First time one of his films made me cry. #Cannes2017
Anne ThompsonVerified account @akstanwyck With Wonderstruck @festival_Cannes has its first Oscar contender: who can beat Carter Burwell's score for a largely silent movie?
THR:
The Amazon Studios film gets a warm reception at its first press screening. Todd Haynes just staked a claim for serious awards consideration as his newest film Wonderstruck had its first official press screening this morning at the Cannes Film Festival.
An inventive adaption of Brian Selznick’s young adult novel of the same name, the film follows two separate stories: In 1927, Rose, a deaf girl living in Hoboken, New Jersey, heads to New York City in search of a celebrated actress, while in 1977, an orphaned boy is struck deaf and runs away from his home in Minnesota to New York in hopes of finding answers about his own past. Haynes takes risks. Rose’s story is presented as a virtual silent movie, and long stretches of the film contain no dialogue at all.
The film got a polite burst of applause from the assembled press and can be expected to be welcomed with a lot of warm reviews.
Haynes has been here before, of course. Two years ago, he debuted his last film Carol at Cannes, and it was just as warmly embraced. Launched into the awards conversation, it would eventually earn six Academy Award nominations, although on Oscar night, it did go home empty-handed.
Haynes — whose films have often filtered an appreciation of movie melodrama through an art-house sensibility — has yet to be fully embraced by the Academy. While he’s been lionized within the indie film community, to date, he has earned only one personal Oscar nomination — a best original screenplay nom for 2002’s Far From Heaven.
At first glance, Wonderstruck may not look like typical Academy fare. Its two biggest stars, Julianne Moore and Michelle Williams, play supporting roles, while the two leads on whose young shoulders the movie rests are 12-year-old Oakes Fegley, who’s previously starred in Disney’s Pete’s Dragon, and 14-year-old Millicent Simmonds, a deaf girl making her screen debut.
But it also boasts impeccable work by such frequent Haynes collaborators as cinematographer Edward Lachman, costume designer Sandy Powell and composer Carter Burwell, to whose work attention must always be paid. And when the two threads of its story finally intersect it glows with well-earned emotional release.
And it can also be expected to get strong support from Amazon Studios, which is releasing the film along with Roadside Attractions in the fall and which proved its awards bona fides last season as it promoted Manchester by the Sea to six Oscar noms and two wins.
Wonderstruck may not follow a conventional approach to its story-telling, but then, last year, neither did Moonlight, and it was eventually crowned best picture, suggesting that as the Academy has nurtured a more diverse and international membership, its taste is becoming more adventurous.
And while the 90th Academy Awards are more than nine months away, Haynes himself doesn’t shy away from the idea of the long promotional trek ahead. “I feel I learn a lot by promoting a film,” he says. “I accepted all the requests the Weinstein Co. asked of me on Carol. It wasn’t about the awards race. In this day and age where the theatrical venture is fading, it was about letting people know the film is out there, and it’s something worthy of seeing on the screen.”
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Post by Deleted on May 18, 2017 10:35:18 GMT
This kind of reaction (didnt read each and every reaction or whatever but got the "more approachable Carol" esque consensus) may actually be better (or not worse, per se) for its award race. palme win never benefited anyone's oscar chances anyway (didnt harm tho)
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Post by Deleted on May 18, 2017 11:02:16 GMT
This kind of reaction (didnt read each and every reaction or whatever but got the "more approachable Carol" esque consensus) may actually be better (or not worse, per se) for its award race. palme win never benefited anyone's oscar chances anyway (didnt harm tho) I dont think it was ever winning the Palme (Director or Jury was more likely) It's still an emotional film which will play like gangbusters to the Academy and it's still locked for techs like cinematography and score, we'll just have to see how Amazon runs the campaign
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Post by The_Cake_of_Roth on May 18, 2017 14:54:50 GMT
Kyle Buchanan ✔ @kylebuchanan WONDERSTRUCK: Imagine a visually lavish, expensive Todd Haynes version of EXTREMELY LOUD & INCREDIBLY CLOSE lmao
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Post by Deleted on May 18, 2017 15:43:22 GMT
Kyle Buchanan ✔ @kylebuchanan WONDERSTRUCK: Imagine a visually lavish, expensive Todd Haynes version of EXTREMELY LOUD & INCREDIBLY CLOSE lmao What's so funny
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Post by Zeb31 on May 18, 2017 21:55:31 GMT
Kyle Buchanan ✔ @kylebuchanan WONDERSTRUCK: Imagine a visually lavish, expensive Todd Haynes version of EXTREMELY LOUD & INCREDIBLY CLOSE lmao I mean, the Jonathan Safran Foer novel that that film got its title from is lovely, so if this is in that vein and Haynes actually pulled it off without butchering it like Daldry did, I'm all for it.
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Post by Deleted on May 19, 2017 6:51:34 GMT
david ehrlich ✔ @davidehrlich OKJA starts, huge boos at Netflix logo. Then film plays in wrong aspect ratio and Grand Lumiere almost rioted. movie stopped. #Cannes2017
Kyle Buchanan ✔ @kylebuchanan Well, it's already fucked. Cannes goers booed the Netflix card on OKJA, then booed more as the film was mis-projected for the first 10 mins
Gregory Ellwood @thegregorye Disaster at OKJA. Movie starts with top of image cut off. Audience who already booed Netflix card clap, yell, scream. (1) #Cannes2017
Steve Pond ✔ @stevepond Okja screening at Cannes halted after 10 mins of booing, hooting & rhythmic clapping, mostly from the balcony. Welcome to Cannes, Netflix.
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