Festival Circuit 2017

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Omensetter
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Re: Festival Circuit 2017

#176 Post by Omensetter » Sun May 28, 2017 11:32 pm

zedz wrote:Well, you're still talking as if it was some regular award that could have been given to somebody else instead of the 'undeserving' Kidman, so surely that's just semantics.

It seems pretty clear that they wanted to specifically acknowledge her and her work across a number of films at the festival. It's probably the least political / horse-tradable award that was given.
Well, there's precedent for anniversary awards---2002's Bowling for Columbine and 2007's Paranoid Park---and I predicted they'd hand out such an award before the festival began in this thread. It's by no means an award that materialized out of nowhere. Giving an award to Kidman was probably a political gesture, as The Beguiled cannot win Director and Actress and they perhaps didn't want to double-up on The Killing of a Sacred Deer with Screenplay and Actress, since that would put it on the level with You Were Never Really Here.

Regardless, here's an image of Östlund winning the Palme. It's too big to display, but the joy on everyone's face is palpable.

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Re: Festival Circuit 2017

#177 Post by yoshimori » Mon May 29, 2017 12:18 am

Le film français final grid appeared while I was asleep and put the Ramsay in a tie for 8th. All the poll results are now on page 6 of this thread.

A word on the camera d'or, which I was glad to see didn't go to the somehow otherwise well-received Balagov, an unremittingly earnest, tedious film. Léonor Serraille’s Jeune femme is the antithesis of Balagov's. It tracks Paula, a hyper but genuinely well-meaning 31-year-old who’s been locked out of her rich boyfriend’s apartment and wants her blue glow-in-the-dark alarm clock back. She darts through the streets of Paris with a fluffy cat but no money, crashing with former lovers, older men she meets at parties, and another young woman who mistakes her for a former classmate. She takes temporary jobs – as a nanny and as a sales clerk at an underwear bar – and even tries moving back in with her contemptuous mom. Nothing seems to work out.

The film is held together by Laetitia Dosch’s performance. Freckled, with long red hair and heterochromatic eyes (one blue, one brown), Dosch creates a character both buoyant and anxious, an essentially honest, if insecure jeune femme. Serraille and her crew – mostly female; she made a point of this while introducing the film and apparently directed the thing while pregnant – have captured that free-floating spirit reasonably well. No revelation, but a director worth watching.

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Re: Festival Circuit 2017

#178 Post by JabbaTheSlut » Mon May 29, 2017 11:14 am

Jeune Femme sounds interesting!

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Re: Festival Circuit 2017

#179 Post by colinr0380 » Tue May 30, 2017 9:32 am

And I thought A Street Cat Named Bob would be the end of the influence of Inside Llewyn Davis! (The 'consistent cat teaming up with flaky adult with maybe a musicial tinge' subgenre seems as if it is getting almost as weirdly trendy as the 'pie as a metaphor for life' one was back in the late 2000s!)
Freckled, with long red hair and heterochromatic eyes (one blue, one brown)...
It sounds worryingly as if this aspect gets pointed out in the film. They don't make a too pointed song out of this on the soundtrack do they? Like Don't It Make My Brown Eyes Blue?

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Re: Festival Circuit 2017

#180 Post by domino harvey » Sat Jul 01, 2017 12:45 pm

domino harvey wrote:Join us in the forum's exploration of past Cannes top prize winners here (you will need to log in to view)
Lists for the Cannes List are due tonight, please read the rules here and submit -- even if you haven't joined in the conversation, you can submit a list!

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Re: Festival Circuit 2017

#181 Post by Ribs » Fri Jul 14, 2017 6:00 pm


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DarkImbecile
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Re: Festival Circuit 2017

#182 Post by DarkImbecile » Tue Jul 25, 2017 4:49 pm


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rohmerin
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Re: Festival Circuit 2017

#183 Post by rohmerin » Thu Jul 27, 2017 7:02 am

Venice

http://cineuropa.org/nw.aspx?t=newsdeta ... did=332128" onclick="window.open(this.href);return false;

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Re: Festival Circuit 2017

#184 Post by bakofalltrades » Thu Jul 27, 2017 3:06 pm

rohmerin wrote:Venice

http://cineuropa.org/nw.aspx?t=newsdeta ... did=332128" onclick="window.open(this.href);return false;
ZAMA! At long last! (Excited about other films as well, but Martel's is the one I've been waiting for.)

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The Elegant Dandy Fop
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Re: Festival Circuit 2017

#185 Post by The Elegant Dandy Fop » Thu Jul 27, 2017 3:17 pm

I'm very excited by the fact Lucretia Martel's latest finally found a home at festival, but I had no clue Hirokazu Kore-eda was making a thriller. Very excited about that prospect! I also have a morbid curiosity over the new Paul Schrader as he's spent the last decade making a whole lot of real "what the fuck" level decisions.

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Re: Festival Circuit 2017

#186 Post by mfunk9786 » Thu Jul 27, 2017 4:13 pm

Very surprised not to see Phantom Thread on that list. But of course, no one's *coughs loudly* seen a stitch of that one yet

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Ribs
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Re: Festival Circuit 2017

#187 Post by Ribs » Thu Jul 27, 2017 4:16 pm

I'd imagine it'll play at NYFF (where Inherent Vice premiered), possibly in workprint form.

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Re: Festival Circuit 2017

#188 Post by mfunk9786 » Thu Jul 27, 2017 4:19 pm

Or not - The Master didn't screen at any festivals and was pretty secretive with regard to when/how it was shown up to the time of release.

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Re: Festival Circuit 2017

#189 Post by DarkImbecile » Thu Jul 27, 2017 4:26 pm

So in about a month I'll be heading to Telluride for the first major festival I've ever attended; I have a Festival Pass, so I can potentially access almost every screening. Any tips for navigating Telluride in particular or major festivals in general that anyone can share?

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Oedipax
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Re: Festival Circuit 2017

#190 Post by Oedipax » Thu Jul 27, 2017 4:41 pm

Martel showing out of competition in Venice is a bit surprising/disappointing, to the extent any of that is worth caring about (not really).

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Omensetter
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Re: Festival Circuit 2017

#191 Post by Omensetter » Thu Jul 27, 2017 5:51 pm

mfunk9786 wrote:Or not - The Master didn't screen at any festivals and was pretty secretive with regard to when/how it was shown up to the time of release.
It pretty much won the Golden Lion? I remember the secret 70mm screenings---well, the one in Chicago, at least. Then TWC stupidly went wide with it in its second week in September 2012.

I think There Will Be Blood screened once or twice at Fantastic Fest before its December 2007 release, though.
----
Zama is the story with regard to Venice, though. Hopefully it won't take long Martel long to find financing for her next outing.

I guess Kechiche cannot really show his face in Cannes after pawning his Palme? That, and he still seems salty. It's a surprise to see it, though!

Nice of them to give Wiseman a Comp slot.

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mfunk9786
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Re: Festival Circuit 2017

#192 Post by mfunk9786 » Thu Jul 27, 2017 7:42 pm

My memory sucks.

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Omensetter
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Re: Festival Circuit 2017

#193 Post by Omensetter » Thu Jul 27, 2017 10:19 pm

Like, I can see why you might misremember because that film's build-up was shrouded in mystery and scrutinized over, from the fan title apparently becoming the actual title (?), is it/is it not about Scientology, speculation that Tom Cruise snagged Elswit for a Mission: Impossible out of spite, all on top of being the follow-up to probably the biggest critical success of the century which managed to breach pop culture. There was definitely a lot of intrigue and excitement over how a director follows-up a massive instantly canonized film like There Will Be Blood. I imagine its precedent was Tarantino following up Pulp Fiction.

Then, you know, the new Venice director---Alberto Bandera---wanting to make a splash, Michael Mann's jury forgetting the rules, the secret 70 mm screenings, the largest per-theatre average until the next Wes Anderson film came along, critical acclaim, and then Weinstein shooting himself in-the-foot by putting the extremely-esoteric-by-mainstream-standards film in eight hundred theatres its second week, out of an apparent hatred of money.

I swear I'm not nostalgic
---
Reading the line-ups for Toronto and Venice again, I am grateful that at least Detroit and Good Time are opening in the summer, both genre-y films, but still. Whatever it takes to avoid the logjam of December 2016 that saw films that normally would have played a regular arthouse theatre eaten alive by Oscar contenders and only so many screens. 20th Century Women and Paterson were definitely the biggest casualties. Why Amazon thought a typically thoughtful and (gloriously/deceptively) low-key Jarmusch film might contend for Oscars is beyond me, but I imagine they were just all-in on their new operation performing at the Oscars.

It would seem The Killing of a Sacred Deer could be held over until next year, at least.

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Re: Festival Circuit 2017

#194 Post by bakofalltrades » Fri Jul 28, 2017 2:12 pm

DarkImbecile wrote:So in about a month I'll be heading to Telluride for the first major festival I've ever attended; I have a Festival Pass, so I can potentially access almost every screening. Any tips for navigating Telluride in particular or major festivals in general that anyone can share?
This year will only be my second time at the festival (and my second time attending without a pass of any kind), but the couple things I discovered:

Telluride's a small town, but hoofing from the Pierre/Palm to the Werner Herzog, or getting back and forth from the Chuck Jones (which is separated from the other venues by a gondola ride) can take a bit of time. With a pass, you'll still get in ahead of individual ticket purchasers if seats are available, even at the last moment, but it's something to consider as you plan out your schedule.

It seemed a point of confusion, but passholders did not get first access to most of the repertory screenings I attended. It was purely first come, first served—pass or not—until the venue was full.

When I attended, the big-budget film screenings on the first night did not fill up entirely with passholders (individual tickets were available); so it seems you've a good chance at getting one of those out of the way the first night you're there (if you're there on Friday night, and if they appeal to you). Smaller films in the smaller theaters DID fill up quickly with passholders on the first night/first full day, so you'd want to get there quite early if you want into those early on in the festival.

Download the Telluride festival app and keep a close eye on the TBDs that fill in for Sunday/Monday screenings.

Again, I've only been there once, without a pass, so my input might not be so insightful or relevant. But it's a gorgeous place for a film festival, it's easily navigated and not overwhelming in the slightest, and the festival itself has a laid-back vibe that is really pleasant. Hope you enjoy it!

*edit*

I wanted to add that, even attending without a pass and barring unavoidable scheduling conflicts, I was able to see every film I really wanted to see (plus a couple that I decided to check out on a whim). From Saturday to Monday morning, I saw at least eight films. (Three or four per day on Sat/Sun, and one on Monday morning before I left.) I just had to line up earlier than passholders to make sure I got a seat.

As a passholder, you'll have more time, and you'll be able to see more.

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DarkImbecile
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Re: Festival Circuit 2017

#195 Post by DarkImbecile » Sat Jul 29, 2017 4:20 pm

Thanks, bak! I really appreciate the advice; hope it's as good a set of films this year as usual!

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Ribs
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Re: Festival Circuit 2017

#196 Post by Ribs » Tue Aug 08, 2017 12:06 pm

NYFF main lineup

There's still the chance there'll be a late addition but I'm a little surprised that outside of the opening and closing films they don't really seem to have gotten many exciting premieres (and I have no idea why Meyerowitz Stories is forgoing TIFF so it can premiere on this side of the Atlantic in NY)

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zedz
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Re: Festival Circuit 2017

#197 Post by zedz » Tue Aug 08, 2017 4:37 pm

Werewolf by Night wrote:But the "special prize" that Kidman was given isn’t some prize that gets awarded every year, some prize just sitting around to be given to a film. They wanted to give Kidman an award (for her body of work, for her presence in 4 projects showing at Cannes, for her longtime championing of and collaborations with arthouse directors, for whatever), so they kind of made this one up for the occasion. She didn’t “take” it from some film.
Having now seen three of those four films, I can understand why the jury made that award. Kidman is really good in The Beguiled, Killing of a Sacred Deer and Top of the Lake: China Girl, and she's really good in very different ways that are all in service to the radically different styles of those films. None of those performances are flashy or central enough to qualify for the regular acting award, but the range and sensitivity of her work is definitely an achievement warranting recognition.

Interestingly, all three of these roles are variations on the same idea, even though the films tonally and thematically have little in common:
SpoilerShow
she's a mother, or mother-figure, whose daughter, or daughter-figure, gets involved with a dangerous, manipulative interloper
(That spoiler is part of the premise for the Coppola and Campion, it's most a spoiler for the Lanthimos)

So it's also an opportunity to see Kidman approach a similar role in tonally different ways: dramatic, comic and Brechtian / absurdist.

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Re: Festival Circuit 2017

#198 Post by Fiery Angel » Tue Aug 08, 2017 5:06 pm

Ribs wrote:NYFF main lineup

There's still the chance there'll be a late addition but I'm a little surprised that outside of the opening and closing films they don't really seem to have gotten many exciting premieres (and I have no idea why Meyerowitz Stories is forgoing TIFF so it can premiere on this side of the Atlantic in NY)
Looks like not much of interest this year, unfortunately; oh well, at least I'll save time and money.

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Re: Festival Circuit 2017

#199 Post by Wire » Fri Aug 11, 2017 2:37 pm

For the first time, I have a chance to visit major film festival - Venice - and I'm not sure if there are English subtitles shown at screenings. La Biennale site is not helpful. I guess they will all have English subtitles for the international review purposes. Anyone able to confirm?

Also, I need recommendations for Out of Competition and Horizons programs. I'm thinking about Lucretia Martel, Nico documentary, Anne Fontaine...
SpoilerShow
OUT OF COMPETITION – FICTION

Our Souls At Night, dir: Ritesh Batra
Il Singor Rotpeter, dir: Antonietta De Lillo
Victoria & Abdul, dir: Stephen Frears
La Mélodie, dir: Rachid Hami
Outrage Coda, Takeshi Kitano (Closing Night Film)
Loving Pablo, dir: Fernando Leon De Aranoa
Zama, dir: Lucretia Martel
Wormwood, dir: Errol Morris
Diva!, dir: Francesco Patierno
La Fidèle, dir: Michael R Roskam
Il Colore Nascosto Delle Cose, dir: Silvio soldini
The Private Life Of A Modern Woman, dir: James Toback
Brawl In Cell Block 99, dir: S Craig Zahler

OUT OF COMPETITION – DOCUMENTARIES

Cuba And The Cameraman, dir: Jon Alpert
My Generation, dir: David Batty
Piazza Vittorio, dir: Abel Ferrara
The Devil And Father Amorth, dir: William Friedkin
This Is Congo, dir: Daniel McCabe
Ryuichi Sakamoto: Coda, dir: Stephen Nomura Schible
Jim & Andy: The Great Beyond. The Story Of Jim Carrey, Andy Kaufman And Tony Clifton, dir: Chris Smith
Happy Winter, dir: Giovanni Totaro

OUT OF COMPETITION – SPECIAL EVENTS
Casa D’Altri, dir: Gianni Amelio
Michael Jackson’s Thriller 3D, dir: John Landis
Making Of Michael Jackson’s Thriller, dir: Jerry Kramer

HORIZONS

Nico 1988, dir: Susanna Nicchiarelli (opening film)
*Disappearance , dir: Ali Asgari
Espèces Menacées, dir: Gilles Bourdos
The Rape Of Recy Taylor, dir: Nancy Buirski
Caniba, dirs: Lucien Castaing-Taylor, Verena Paravel
*Les Bienheureux, dir: Sofia Djama
Marvin, dir: Anne Fontaine
Invisible, dir: Pablo Giorgelli
*Brutti E Cattivi, dir: Cosimo Gomez
The Cousin, dir: Tzahi Grad
*The Testament, dir: Amichai Greenberg
No Date, No Signature, dir: Vahid Jalilvand
*Los Versos Del Ovido, dir: Alireza Khatami
La Nuit Ou J’ai Nagé – Oyogisugita, dirs: Damien Manivel, Igarashi Kohei
Krieg, dir: Rick Ostermann
*West Of Sunshine, dir: Jason Raftopoulos
Gatta Cenerentola, dirs: Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone
Under The Tree, dir: Hafsteinn Gunnar Sigurdsson
La Vita In Commune, dir: Edoardo Winspeare

CINEMA NEL GIARDINO

Manuel, dir: Dario Albertini
Controfigura, dir: Ra Di Martino
Woodshock, dirs: Kate and Laura Mulleavy
Nato A Casal Di Principe, dir: Bruno Oliviero
Suburra, dirs: Michele Placido, Andrea Molaioli, Guiseppe Capotondi
Tuers, dirs: Francois Troukens, jean-Francois Hensgens

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Re: Festival Circuit 2017

#200 Post by rohmerin » Thu Aug 31, 2017 1:42 pm

Guillermo del Toro's with applauses and emotion in the critics preview. Not the cold silence Payne made.
Paul Schraeder is quite good. And the critic for El Pais is new for me, dual Italian-Spaniard with German surname.

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