Home Forums Movies The Official Cannes 2012 Thread (Haneke’s Amour wins Palme d’Or)

The Official Cannes 2012 Thread (Haneke’s Amour wins Palme d’Or)

CREATE A NEW TOPIC
CREATE A NEW POLL
Viewing 15 posts - 1 through 15 (of 57 total)
Created
5 years ago
Last Reply
5 years ago
56
replies
3744
views
15
users
12
12
9
  • rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61074

    IN COMPETITION

    Opening Film
       
         
    Wes ANDERSON MOONRISE KINGDOM 1h34
         
      ***  
         
    Jacques AUDIARD DE ROUILLE ET D’OS 1h55
         
    Leos CARAX HOLY MOTORS 1h50
         
    David CRONENBERG COSMOPOLIS 1h45
         
    Lee DANIELS THE PAPERBOY 1h41
         
    Andrew DOMINIK KILLING THEM SOFTLY 1h40
         
    Matteo GARRONE REALITY  1h50
         
    Michael HANEKE AMOUR
    (LOVE)
    2h06
         
    John HILLCOAT LAWLESS 1h55
         
    HONG Sangsoo DA-REUN NA-RA-E-SUH
    (IN ANOTHER COUNTRY)
    1h28
         
    IM Sang-soo

    DO-NUI MAT

    (THE TASTE OF MONEY)

    1h53
         
    Abbas KIAROSTAMI  LIKE SOMEONE IN LOVE
    1h49
         
    Ken LOACH THE ANGELS’ SHARE 1h46
         
    Sergei LOZNITSA

    V TUMANE

    (IN THE FOG)

    2h07
         
    Cristian MUNGIU BEYOND THE HILLS 2h35
         
    Yousry NASRALLAH

    BAAD EL MAWKEAA

    (AFTER THE BATTLE)

    1h56
         
    Jeff NICHOLS MUD 2h15
         
    Alain RESNAIS VOUS N’AVEZ ENCORE RIEN VU 1h55
         
    Carlos REYGADAS POST TENEBRAS LUX 1h40

       
    Walter SALLES

    ON THE ROAD

    2h20
                                                                                                              
    Ulrich SEIDL PARADIES : Liebe
    (PARADISE : Love
     
    2h00
         
    Thomas VINTERBERG

    JAGTEN

    (THE HUNT)

    1h46
         
         
      ***  

    Film to be screened at

    the Closing Ceremony

       
         
    Claude MILLER THÉRÈSE DESQUEYROUX     (Out of Comp.)        1h50

     
     

    UN CERTAIN REGARD
     

    Ashim AHLUWALIA                    MISS LOVELY                             First film 1h50
                                                                
    Juan Andrés ARANGO LA PLAYA DC                                  First film 1h30
         

    Nabil AYOUCH

    LES CHEVAUX DE DIEU
    (GOD’S HORSES)
    1h55
         
    Catherine CORSINI TROIS MONDE 1h40
         
    Brandon CRONENBERG     ANTIVIRAL                                  First film 1h50
         
    Benicio DEL TORO, 
    Pablo TRAPERO, 
    Julio MEDEM, 
    Elia SULEIMAN,
    Juan Carlos TABIO,
    Gaspard NOÉ et
    Laurent CANTET
    7 DIAS EN LA HABANA 2h05
         
    Benoit DELÉPINE,
    Gustave KERVERN
    LE GRAND SOIR 1h32
         
    Xavier DOLAN LAURENCE ANYWAYS 2h41
         
    Michel FRANCO DESPUÉS DE LUCIA 1h33
         
    Joachim LAFOSSE À PERDRE LA RAISON 1h54
         
    Darezhan OMIRBAYEV STUDENT 1h30
         
    Moussa TOURE LA PIROGUE
    (THE PIROGUE)
    1h27
         
    Pablo TRAPERO ELEFANTE BLANCO
    (WHITE ELEPHANT)
    2h00
         
    Sylvie VERHEYDE CONFESSION OF A CHILD OF THE CENTURY 2h05
         
    Koji WAKAMATSU 11.25 THE DAY HE CHOSE HIS OWN FATE 2h00
         
    LOU Ye MYSTERY 1h30
         
    Benh ZEITLIN BEASTS OF THE SOUTHERN WILD    First film 1h32
         




    OUT OF COMPETITION

     

    Bernardo BERTOLUCCI IO E TE
    (ME AND YOU)
    1h37
                                                                
    Eric DARNELL, Tom MCGRATH, Conrad VERNON

    MADAGASCAR 3, EUROPE’S MOST WANTED

    1h30
         
    Philip KAUFMAN HEMINGWAY & GELLHORN 2h34
         
         
         
    MIDNIGHT SCREENINGS
       
         
    Dario ARGENTO DARIO ARGENTO’S DRACULA 1h46
         
    Takashi MIIKE  AI TO MAKOTO 2h14
         
         
    65TH ANNIVERSARY
       
                                                                                        
      UNE JOURNÉE PARTICULIÈRE by Gilles Jacob and Samuel Faure 53′

     

     


    SPECIAL SCREENINGS
     

    Fatih AKIN DER MÜLL IM GARTEN EDEN
    (POLLUTING PARADISE)
    1h25
                                                               
    Laurent BOUZEREAU ROMAN POLANSKI : A FILM MEMOIR 1h34
         

    Ken BURNS, 
    Sarah BURNS, 
    David MCMAHON

    THE CENTRAL PARK FIVE 2h00
         
    Sébastien LIFSHITZ LES INVISIBLES 1h55
         
    Claudine NOUGARET,
    Raymond DEPARDON
    JOURNAL DE FRANCE 1h40
         
    Nelson 
    PEREIRA DOS SANTOS
    A MUSICA SEGUNDO TOM JOBIM 1h30
         
    Gonzalo TOBAL VILLEGAS                                   First film 1h36
         
    Apichatpong 
    WEERASETHAKUL
    MEKONG HOTEL 1h01
                                                                                                                   

     

    Reply
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61076

    THE OFFICIAL POSTER:

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61077
    51e SELECTION DE LA SEMAINE DE LA CRITIQUE – 2012
     


    COMPETITION

    Feature films
    Aquí y allá Antonio Méndez Esparza (Spain/USA/Mexico) 
    Au galop (In a Rush) Louis-Do de Lencquesaing (France) 
    Les Voisins de Dieu 
    Meni Yaesh (Israel/France) 
    Hors les murs (Beyond the Walls) 
    David Lambert (Belgium/Canada/France)
    Peddlers Vasan Bala (India)
    Los Salvajes Alejandro Fadel (Argentina)
    Sofia’s Last Ambulance Ilian Metev (Germany/Bulgary/Croatia) 

    Short and medium length films 
    La Bifle (The Dickslap) Jean-Baptiste Saurel (France) 
    Ce n’est pas un film de cow-boys (It’s not a Cowboy Movie) Benjamin Parent (France) 
    Circle Line Shin Suwon (South Korea ) 
    O Duplo (Doppelgänger) Juliana Rojas (Brazil) 
    Family Dinner Stefan Constantinescu (Sweden) 
    Fleuve rouge, Song Hong (Red River, Song Hong) Stéphanie Lansaque & François Leroy (France) 
    Hazara Shay Levi (Israel) 
    Horizon Paul Negoescu (Romania) 
    Un dimanche matin (A Sunday Morning) Damien Manivel (France)
    Yeguas y cotorras Natalia Garagiola (Argentina)

       
    SPECIAL SCREENINGS

    Opening Night
    Broken Rufus Norris (United Kingdom)

    Closing Night 
    The Closing Night will be announced soon
     

    Special Screening
    Augustine Alice Winocour (France) 

    Special screening 
    J’enrage de son absence (Maddened by his absence) Sandrine Bonnaire (France/Luxembourg/Belgium) 

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61078

    CRITICS’ WEEK OFFICIAL POSTER:

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61079

    Directors’ Fortnight 2012 Selection:

    LONGS METRAGES / FEATURE FILMS

    3 de / by Pablo Stoll Ward (Uruguay, Allemagne, Argentine / Uruguay, Germany, Argentina) – Première internationale

    Adieu Berthe – l’enterrement de mémé / Granny’s Funeral de / byBruno Podalydès (France) – Première mondiale

    Alyah de / by Elie Wajeman (France) – Caméra d’or – Première mondiale

    Camille redouble de / by Noémie Lvovsky (France) – Première mondiale –Film de clôture

    Dae gi eui wang / The King of Pigs de / by Yeun Sang-Ho (Corée du Sud / South Korea) – Caméra d’or – Première Internationale

    Dangerous Liaisons de / by Hur Jin-Ho (Chine / China) – Première mondiale

    El Taaib / Le Repenti de / by Merzak Allouache (Algérie / Algeria) – Première mondiale

    Ernest et Célestine de / by Stéphane Aubier, Vincent Patar, Benjamin Renner (France, Belgique, Luxembourg / France, Belgium, Luxembourg) – Première mondiale

    Fogo de / by Yulene Olaizola (Mexique, Canada / Mexico, Canada) – Première mondiale

    Gangs of Wasseypur de / by Anurag Kashyap (Inde / India) – Première mondiale

    Infancia clandestina Enfance clandestine de / by Benjamin Ávila(Argentine, Espagne, Brésil / Argantina, Spain, Brazil) – Première mondiale

    La noche de enfrente / La Nuit d’en face de / by Raoul Ruiz (France, Chili / France, Chile) – Première mondiale – Séance spéciale

    La Sirga de / by William Vega (Colombie, France, Mexique / Colombia, France, Mexico) – Caméra d’or – Première mondiale

    No de / by Pablo Larraín (Chili, Etats-Unis / Chile, USA) – Première mondiale

    Opération Libertad de / by Nicolas Wadimoff (Suisse, France / Switzerland, France) – Première mondiale

    Rengaine / Hold Back de / by Rachid Djaïdani (France) – Caméra d’or – Première mondiale

    Room 237 de / by Rodney Ascher (Etats-Unis / USA) – Caméra d’or – Première internationale

    Sightseers / Touristes ! de / by Ben Wheatley (Royaume Uni / United Kingdom) – Première mondiale – Séance spéciale

    Sueño y silencio de / by Jaime Rosales (Espagne, France / Spain, France) – Première mondiale

    The We and the I de / by Michel Gondry (Etats-Unis / USA) – Première mondiale – Film d’ouverture

    Yek Khanévadéh-e Mohtaram / Une famille respectable / A Respectable Family de / by Massoud Bakhshi (Iran)- Caméra d’or – Première mondiale

    COURTS METRAGES / SHORT FILMS

    PROGRAMME 1 – 1H38

    Avec Jeff, à moto / With Jeff de / by Marie-Eve Juste (Canada)

    Rodri de / by Franco Lolli (France)

    Königsberg de / by Philipp Mayrhofer (France)

    Porcos Raivosos / Porcs enragés / Enraged Pigs de / by Leonardo Sette et Isabel Penoni (Brésil / Brazil)

    Os vivos tambem choram / Les Vivants pleurent aussi de / by Basil da Cunha (Suisse, Portugal / Switzerland , Portugal)

    PROGRAMME 2 – 1H25

    Portret Z Pamieci / Drawn from Memory de / by Marcin Bortkiewicz(Pologne / Poland)

    The Curse de / by Fyzal Boulifa (Royaume Uni, Maroc / United Kingdom, Morrocco)

    Tram de / by Michaela Pavlátová (France, République tchèque / France, Czech Republic)

    Os mortos-vivos / Les Morts-vivants / The Living Dead de / by Anita Rocha da Silveira (Brésil / Brazil)

    Wrong Cops de / by Quentin Dupieux (France)

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61080

    JURIES:

    Competition

    Un Certain Regard

    Cinéfoundation and short films

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61081

    Any early predictions?

    My no guts no glory pre-festival predictions:

    Palme D’orVous N’avez Encore Rien Vu (Alain Resnais) 

    Grand PrixPost Tenebras Lux (Carlos Reygadas) 

    Prix du JuryMoonrise Kingdom (Wes Anderson) 

    Director: Leos Carax, Holy Motors

    Actor: Jean-Louis Trintignant, Amour

    Actress: Marion Cotillard, De Rouille et D’Os (Rust and Bone)

    Screenplay: Hong Sang-soo, In Another Country

    But given Moretti’s political activism he’ll probably give Loach his second Palme. Ugh.

    ReplyCopy URL
    Renaton
    Member
    Joined:
    Jun 4th, 2011
    Topics:
    Posts:
    #61082

    I actually think Audiard will take the Palme D’Or, even if it’s too early to tell.

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61083

    I have a feeling Audiard could win, especially since A Prophet came quite close but Resnais has never won and I think they might give it to him. 

    ReplyCopy URL
    Logan
    Participant
    Joined:
    Oct 11th, 2011
    Topics:
    Posts:
    #61084

    Bump since it begins tomorrow.

    ReplyCopy URL
    Logan
    Participant
    Joined:
    Oct 11th, 2011
    Topics:
    Posts:
    #61085

    Sasha Stone is covering her Cannes experience, and has written reviews for a number of films, including Amour (Haneke), Lawless (Hillcoat), Beasts of the Southern Wild (Zietlin), Rust and Bone (Audiard), Moonrise Kingdom (Anderson), and others.

    http://www.awardsdaily.com/

    ReplyCopy URL
    Renaton
    Member
    Joined:
    Jun 4th, 2011
    Topics:
    Posts:
    #61086

    I can’t see Anderson winning anything. His film had a good response, but nothing enthusiastic enough for him to win anything. Audiard’s film seem unlikely to win most, but the lead actor could be a threat, he seems to be getting a lot of attention for this, more than his director and Cotillard.

    ReplyCopy URL
    Logan
    Participant
    Joined:
    Oct 11th, 2011
    Topics:
    Posts:
    #61087

    Hollywood Reporter review for Like Someone in Love (Abbas Kiarostami): includes some plot spoilers

    http://www.hollywoodreporter.com/review/like-someone-love-cannes-review-325702

    ReplyCopy URL
    rockstitution
    Member
    Joined:
    Nov 6th, 2010
    Topics:
    Posts:
    #61088

    A few Cannes thoughts:

    Firstly, I’m pretty disappointed with the low turn-out for this thread. I thought GD was a film site. This is the first time I’ve seriously followed Cannes. I thought more people would be following it.

    Anyway, I could see Anderson getting the Grand Prix (3rd Place) or the Director’s Award. Reviews for Moonrise Kingdom have been mixed to positive so far.

    Rust and Bone won’t win the Palme but it is getting raved. I can see Cotillard and Schonearts could pick up either of the acting awards or Audiard may pick up the Directing plum.

    Hillcoat’s Lawless looks like a non-starter. A shame since I was looking forward to Guy Pierce possibly getting Oscar nodded

    The Vinterberg (The Hunt) and Hong (In Another Country) look like they could be serious contenders.

    The new Kiarostami is wildly divisive with some calling it a complete fail while others call it a masterwork.

    The new Haneke is getting a rapturous response. He is getting almost career best reviews. Amour may yield him his second Palme. At the very least, Trigntinant and Riva should get serious consideration for either of the acting awards.

    Can’t wait for the reviews of the Reygadas (which looks like serious Palme potential) and Resnais (who could be the sentimental choice for the Palme, I know they’re still kicking themselves for never awarding Bergman, Resnais is in his 90s, this could be their last chance).

    Finally, Asgar Farhadi has announced his new project will be set in Paris and will star Marion Cotillard and Tahar Rahim!

    ReplyCopy URL
    DD
    Participant
    Joined:
    May 22nd, 2011
    Topics:
    Posts:
    #61089

    Killing Them Softly (with Brad Pitt and James Gandolfini) is getting great early buzz.

    Check out EW’s write up:

    http://insidemovies.ew.com/2012/05/22/cannes-brad-pitt-in-killing-them-softly/
    Cannes: Brad Pitt is menacingly good in the scuzzy, snazzy underworld movie ‘Killing Them Softly’
    by

    Tags: , , , , ,

    Image Credit: Melinda Sue Gordon

    I wasn’t nearly as wild as a lot of critics about The Assassination of Jesse James by the Coward Robert Ford
    — I thought it was too long, too arty and slow, too in love with its
    moods and images. Yet it was clear that the director, the New
    Zealand-born Australian Andrew Dominik, was very gifted. Whenever Brad
    Pitt appeared as Jesse James, the screen vibrated with menace, even
    though Pitt seemed to be doing almost nothing. As good as he had been
    before (in, say, Fight Club), I thought that the Jesse James
    performance was the place where Pitt took the full leap to who he is
    today — a top-of-his-game Hollywood actor who infuses star aura with
    complexity. In Killing Them Softly, Dominik’s first feature since The Assassination of Jesse James,
    Pitt once again plays a quietly powerful sociopath, and once again the
    screen vibrates. The thing about Pitt’s charismatic badasses — and this
    is what a lot of haters still miss about him as an actor — is that
    although they radiate a certain brawny physical fearlessness, they draw
    their strength from Pitt’s intelligence, his quicksilver-cool line
    readings and aura of awareness.

    In Killing Them Softly, he plays Jackie Cogan, a Mob
    enforcer who’s called in to clean up the mess that follows an underworld
    card-game robbery committed by two real bottom feeders: Frankie (Scoot
    McNairy), who’s just desperate and manic enough to know that he’s in
    over his head, and Russell (Ben Mendelsohn, from Animal Kingdom),
    a sweaty, disheveled British junkie who can’t see past his next fix.
    The two look like they should be easy enough to deal with, but first
    Jackie has to figure out whether Trattman (Ray Liotta), who runs the
    poker night, masterminded the heist of his own game (he had done that
    once before). Then he’s got to smoke out anyone else involved.

    On paper, there’s not much to the plot, which is taken from the 1974 novel Cogan’s Game by Boston crime writer George V. Higgins (The Friends of Eddie Coyle).
    But that’s because Dominik wants the encounters to stand out from the
    story. He wants the drama to be in how these petty lowlifes interact
    with each other — the chiseling, ball-busting, back-and-forth
    scuzziness, the comedy of casually obscene aggression that’s always
    dancing on the edge of violence. This, of course, is Scorsese Land,
    Tarantino Land, and also David Chase Land, and because those three have,
    in different ways, mined this kind of criminal material so brilliantly,
    you’ve now got to be damn good to enter the authentically bloody and
    intense movie-underworld arena and really play that game.

    Dominik is up to the challenge. Killing Them Softly is
    mostly a loosely frazzled series of dialogues, held in bars, cars, and
    apartment lairs, and a lot of them are mesmerizing. Dominik plugs us
    into the moment, so that we’re hanging on every word to figure out who’s
    stupid but maybe street smart, and who’s under whose thumb. The fact
    that so little is really at stake is a part of the tasty gutter flavor.
    So is the relentlessness of the violence (Ray Liotta gets the holy
    living crap beat out of him in a scene that, for me, was more intense,
    and more true, than anything in Drive). Killing Them Softly
    was shot, in a palette of vivid grunge, in what appears to be the most
    anonymous locations in every dirty armpit of Boston, and the characters,
    too, are walking armpits. They don’t rise to the level of being
    goodfellas — they’re worsefellas.

    Get more EW: Subscribe to the magazine for only 33¢ an issue!

    One of the worst, and most captivating, is James Gandolfini as
    Mickey, an old hitman crony of Jackie’s who gets called up from Florida
    to do one of the jobs. Gandolfini trots out his familiar Tony Soprano
    inflections, yet this Mob lug has an even shorter fuse than Tony, and
    Gandolfini makes him a different animal, a drunk and a rabid bully who
    abuses harmless waiters and hookers yet weeps if his wife waves divorce
    papers at him. When he and Jackie are sitting around, chewing over their
    lives, revealing everything and nothing, the movie takes wing. It’s the
    poetry of men who have no poetry — who exist from one threat to the
    next.

    Killing Them Softly is less successful when it tries to be a
    tale of capitalism’s decline. Dominik has set the film at the end of
    George W. Bush’s second term, when the economy was falling apart. He
    keeps looping in TV clips of Bush, and of Obama riding into the home
    stretch of the presidential campaign in full “hope and change” mode. The
    implication is that the entire system is rigged, and that the
    cutthroats we’re watching are acting out the naked, rotten desperation
    of the whole society. But that’s an awfully grand — and trendy —
    indictment to balance on the backs of thieves and murderers who can
    barely see what’s in front of them. Killing Them Softly is a
    blistering, at times hypnotic minor movie that wraps itself in an
    importance it never earns. But there’s no doubt that it has made me an
    Andrew Dominik believer.

    * * * *

    Image Credit: Film Images

    Remember The Celebration? Thomas Vinterberg’s tale of a
    wedding gone wrong was one of the few Dogma 95 films to gain any
    traction, but I remember sitting through it and thinking that beneath
    the harsh light, naturalistic sound, and smartly manufactured air of
    shot-on-video chaos, what was actually happening in the movie was
    preposterous. In The Hunt, Vinterberg has abandoned the
    Dogma-isms — but, unfortuntely, the new movie rings just as false, and
    maybe even more so, since it deals with the deadly grave issue of a man
    falsely accused of child sexual abuse. He’s played by Mads Mikkelsen,
    the very good Danish actor who was James Bond’s liver-lipped enemy
    across the poker table in Casino Royale. In The Hunt,
    Mikkelsen plays a divorced and, from what we can see, very gentle and
    decent grade-school educator who is arbitrarily accused, by his best
    friend’s young daughter, of having done bad things to her. The
    accusation is false (the girl is confused, for several reasons,
    including the moment that her brother shows her hard-core pornography on
    the Internet), but the idea of the movie is that the lie sticks, then
    grows like a virus.

    It sounds like the kind of thing that happened in America during the child-sex-abuse witch hunts of the ’80s. But in The Hunt,
    almost nothing we see is believable. Like the fact that the teacher who
    presides over the hearings, in a veritable one-woman crusade against
    Mikkelsen, breaks legal protocol (by, at one point, calling his ex-wife
    to report the accusation), with zero ramifications. Or the fact that no
    one ever stops to consider that the accuser, who changes her story
    several times, might actually be lying. Or that Mikkelsen, faced with a
    horrendous accusation that he is completely innocent of, barely even
    opens his mouth to defend himself (are Scandinavians that
    verbally reticent?). Or the fact that one of his neighbors expresses the
    community’s disgust by killing Mikkelsen’s dog (a case of cross-wired
    genre clichés, since no one would kill the pet of an accused child
    molester — that’s what thugs in thrillers do as warnings). Vinterberg
    wants to heighten the emotions of persecution — he’s trying for a
    minimalist version of The Crucible — but since he gets the details all wrong, the result is like a parable for no-nothings.

    ReplyCopy URL
Viewing 15 posts - 1 through 15 (of 57 total)
Reply To: The Official Cannes 2012 Thread (Haneke’s Amour wins Palme d’Or)

You can use BBCodes to format your content.
Your account can't use Advanced BBCodes, they will be stripped before saving.

Similar Topics
darthva... - Oct 16, 2017
Movies
Wildfor... - Oct 16, 2017
Movies