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Cannes 2007 (winners) photopost, part 2

The big ceremony was yesterday and made me very haaaaaaaaaaaappy. Yeah, I know, no Fincher, no Tarantino, no Coens in the winners’ list and hardly any Americans, for that matter. But y’know, the big guns, even non-Americans, already have their Palmes and whatnots…
Photo credit : the festival’s official website, the galleries at Yahoo!News, Yahoo!Movies and PopSugar; the festival’s coverage at Canal Plus. All pics are hosted by Photobucket.

This year’s jury on the red carpet for the closing ceremony…
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..and the complete list of winners:
— Palme d’Or: 4 Luni, 3 Saptamini Si 2 Zile (4 Months, 3 weeks and 2 days), Romania
Director Cristian Mungiu with presenter Jane Fonda
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Two wonderful films

I feel incredibly lucky to be in France right now. I’ve just seen two of the best films of the year so far; they’re just incredible, both gorgeous and creative in their own way. No spoilers in the small reviews, I promise.

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Les Chansons d’Amour, directed by Christophe Honoré, is a beautiful musical set in Paris; depicted exactly as we know it –there’s no dramatization, no fictionalization (that’s one of my favourite aspects of the film). Despite dealing with very painful and emotional issues, the film is actually a real pleasure to watch, and will make you walk off with a smile on your face and in your heart. The singing parts are a bit difficult to adjust to at first, but it all makes sense afterwards -it’s the most accurate form of expression for the characters, in a way, and rightly so. It’s absolutely enchanting and… incredibly focused in its exploration of the characters’ emotions. It’s never corny or out of tune (no pun intended). Props to the actors, and especially Louis Garrel, who’s all kinds of charming and sexy, and the breakthrough performance of Grégoire Leprince-Ringuet.

Le Scaphandre et le Papillon, directed by Julian Schnabel, is the heartwrenching adaptation of Jean-Dominique Bauby’s book, an autobiography in which he tells of his life as a paralyzed man. Although his left eye is the only moving part of his body (and thus, the only way left for him to communicate with others), his inner self is still very much alive. The film unfolds like a whimsical, fantastical poem; but at the same time, it’s very realistic and therefore heart-shattering in its rendition of this man’s journey. The vision, and indeed the directing, are quite unique; and the film is also somewhat surprising in its tone (it’s funnier than you’d expect). Bauby turns out to be a semi-tragic, cynical figure; and Mathieu Amalric gives a sensational performance, as well. Photography, by Janusz Kaminski, is outstanding (as usual with him, really).

Those two films really deserve awards *Cannes, I’m looking at you*; but most of all, an audience worthy of the accomplishment they represent. Go and see ‘em if you can, because they’re really worth the price of an entrance ticket.

Cannes 2007 Photopost

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The frenzy of the Cannes Film Festival is just impossible to avoid! Here are the best shots of the past week. There are still four days left, so Part 2 might be coming soon…
Photo credit: the galleries at IMDb, Yahoo!Movies and PopSugar; the festival’s coverage at MSN Entertainement, Empire Online and Canal Plus. The Golden Compass Press Conference photo credit goes to Eva Green Web. All pics are hosted by Photobucket.

Jury Photocall
This year’s president of the jury is acclaimed British director Stephen Frears; the other members are actors/directors Maria De Medeiros and Michel Piccoli; actresses Maggie Cheung, Sarah Polley and Toni Collette; directors Marco Bellocchio and Abderrahmane Sissako, and finally, literary Nobel Prize winner Orhan Pamuk. It’s up to you to identify who’s who (although it should be fairly easy!)…
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It's official…

I’m IN LOVE with Dan Harris. No, really.

I know this sounds like the ramblings of a fangirl but I just love him!

Okay, so here’s the thing. A few days ago, the Saturn Awards winners were announced and Superman Returns pretty much swept the ceremony as they won five prizes… The Saturns are the awards presented by the Academy of Science-Fiction, Fantasy and Horror Films, so it’s pretty wicked!

Best Fantasy Film: Superman Returns (Warner Bros.)
Best Actor: Brandon Routh
Best Director: Bryan Singer
Best Writing: Michael Dougherty, Dan Harris
Best Music: John Ottman
The entire list of winners

Now, these awards are not very important –I mean, yes, they are for the genre of science-fiction, but not on a general award scale, but my point is, there was a ceremony and Bryan, Dan and Mike ATTENDED. Imagine my reaction when I saw they were out in town, I went completely nuts… The thing is, if I don’t hear about them once in a while, I get completely frustrated at the lack of news and not knowing where they are, and what they’re doing or what they’re working on, etc. It all sounds very stalker-ish, but it’s true. I know they’re all working on their seperate projects right now (Bryan on Valkyrie, Mike on Trick ‘r Treat, and Dan presumably on I, Lucifer) but I can’t wait to see them reunited again on Superman. ANYWAY, they were together for the Saturns and even better, someone posted a video of them being interviewed!! I totally pissed my pants when I saw the videos (not literally, but you get my excitement).

Videos can be seen right here –and what gets me all giddy is that Dan, mindfucking bastard that he is, said “Superman is only as good as his villains“; if you watch the video (2nd video towards the end, 4 minutes in), you’ll understand what I mean… Haha! That sneaky bastard! That sneaky sneak that sneaks!

…And that’s why I love him, mind you. You can tell he knows that this quote of his? Will get the fanboys talking and debating for ages. That’s why they’re laughing all around after he said that; they’re so silly!
But once again, that’s why I love ‘em. Heh.

Also, I see Bryan hasn’t improved his communication skills at all. Listening to him talk requires a lot of concentration, I can tell you that! Not to make fun of the poor dear, but I understand why James Marsden kept poking fun at that in one of the video blogs… He’s just the dorkiest dork that ever was, if you ask me. But dork in the ‘adorkable’ sense of the word, of course. And those two videos have confirmed that: 1- Bryan is a multi-tasking genius, 2- the press in only interested in Tom Cruise when it comes down to Valkyrie, 3- he’s still that New Jersey kid that fell in love with Superman thirty years ago. And I really love him for that, too.

Also, he disclosed some very interesting bits on the Valkyrie shot: he’s been scouting locations in Berlin (no surprise here), and the shooting will apparently last 4 to 5 months, which is quite a lot for what I thought was a ‘small’ film! Then again, smaller than Superman Returns for sure. But that means that Valkyrie will probably be released for the beginning of next year (or the award season, of course), and it also means that Bryan will never have the time to shoot The Mayor of Castro Street before the Supes sequel. Although it does seem that the release date for the sequel is pretty flexible –even if Bryan seems to be eager to start working on it. I don’t know. My best guess is that the Supes sequel will be his next film after Valkyrie, really. Whatever he chooses to do first is fine by me!

I love how the interviewer in the video asked him what a typical day was like for him… I wish he’d asked him about The Mayor of… too, but he still asked great questions. Between TV shows and mini-series and video games and whatsnot, Bryan is really involved in tons of projects…! I wish he wasn’t such a workaholic, I’m worried about him… Plus, he’s a hundred percent involved in everything he does, I know he is. But it’s a good thing, too, I just…

I’ll stop here, alriiight. Before I get even creepier on Bryan. The scariest thing, I could go on for hours. I can never shut up about him, that’s the problem. *bangs head against wall*

Review of the month: April

This is long overdue, I apologise for the lateness.
Last film reviewed was Miss Potter, if I remember well.

* First thing, though, is that I saw many films this month that I’d seen before. For exemple, I went to see 300 and Bridge to Terabithia again; reviews for both films are to be found in last month’s post.
* I also saw Sunshine again, which is definitely one of my favourite films of the year so far; the review is here.
* Finally, I saw Spider-Man 3 four times so far and it has really grown on me -my thoughts on the film are right here.
Moving on to the new reviews, then!

* Alpha Dog, directed by Nick Cassavetes. A very pleasant surprise, and a one-of-a-kind thriller/drama. The film is based on a real story and deals with drugs, sex, youth and more drugs. Sounds vulgar, but it isn’t really; the film shows what is borderline acceptable –corrupted adults, debauchery, women treated as objects etc. But it is also set in a very particular world, and the director goes to great lengths to show us that it is an entire, special universe, with different guidelines and moral codes. Cassavates takes the viewer in and never lets go. There’s a real edge and energy to his directing, which is very much appropriate for the story: multiple characters, fractured timeline. As a result, the movie is enthralling from start to finish, and all the characters get a serious screen treatment, which is quite rare in that sort of film. All the drama and drug dealing and whatnots make for great entertainement, but Cassavates chose to focus instead on the characters and their motives, and that is ultimately what makes the film more interesting for the viewer. It shows tremendous potential for both its director and cast -all the actors are absolutely brillant, including lead actor Emile Hirsch, but most especially, Justin Timberlake. The former N’Sync singer shows a natural talent for acting, and has incredible charisma and screen presence. Who knew? He was born for that part, it seems, and steals most of the scenes he’s in. Young Anton Yelchin also has a breakthrough performance as the innocent captive Zach. The writing material these actors were given is just incredible, too. Photography and production design are fine; the music, on the other hand, tends to be very loud and annoying, but that’s if you don’t like hip-hop, as I do. Overall, the film is highly enjoyable and worth seeing.

* Goodbye Bafana, directed by Bille August. This film achieved quite a treat, which is that I walked away from it feeling hopeful, and incredibly inspired. The fact that Nelson Mandela’s one of the main characters of the film probably had something to do with that… Seriously, though, the film is a beautiful reconstructio, of the unlikely friendship between Mandela (played with retention and intelligence by Dennis Haysbert) and his prison warden, James Gregory (a brillant Joseph Fiennes). The directing is quite humble, mostly making room for the storytelling –which is quite appropriate for a ‘historical’ piece. It doesn’t show sweeping, tragic scenes of the apartheid; but rather, how it functioned as an everyday way of life, which is in a way even more terrible. The film is never sirupy or showy, there is an admirable effort throughout its entire length to keep it real and grounded. The emotions are never blatant, and they creep slowly towards the ending, which is really emotional indeed. I also have to mention Dario Marianelli’s scoring, which is absolutely gorgeous. 
I’d highly recommend the film to anyone who’s interested in South Africa’s history; or in seeing a simple, beautiful film.

* Jesus Camp, directed by Heidi Ewing and Rachel Grady. The chronicles of three children enrolled in an evangelist camp, this documntary offers a fascinating insight into this religious trend, a Christian minority which holds a tremendous amount of political power in the US. But more than an influential lobby, it is first and foremost the education and way of life many parents in America have chosen for their children. Many are thus sent to religious ‘summer camps’, where they are shaped and fashioned into dutiful fundamentalists; all this thanks to Rev. Becky Fisher, an evangelist mastermind among many. As a non-religious person, I was truely shocked to witness such events –children are literally forced to cry in order to express their religious fervour. The single-mindedness of these people is utterly stunning. To Rev. Fisher, it seems that there is no other, better way to practise Christianity than to indoctrinate these young minds. I really thought that there was a twisted reversal of all the Christian morals in some way, and it’s absolutely appalling to see people exploiting this as much as they can. One does feel really sorry for the children who’ll never know anything else. The documentary itself is crafted well enough, but its first goal is to be informative; and it does have quite a neutral, unbiased view, which is surprising considering the controversial subject the directors are tackling here. It’s a must-see for anyone who’s interested in that kind of topic, I’d say.

* Love and Other Disasters, directed by Alek Keshishian. A not-so-conventional British rom-com which I enjoyed a lot. Although let me say this first: this is a very girly romantic comedy, very much targeted at women more than anything else. In short, you have to be a gal to appreciate it. It’s not mushy or anything like that, it’s just very much centered around women, and women-related concerns. The protagonist is Emily Jackson (played by Brittany Murphy), a fashionable journalist for the U.K. edition of Vogue. She lives in a very fashionable flat with her best friend, Peter, who’s also gay and a screenwriter. It all sounds very cliché, and it sort of is. The director approached this potentially dangerous material with flair and intelligence: the clichés are assumed and played with; and the film takes a considerably funny turn when Peter’s screenplay becomes the film itself… What I liked was this game between reality/fiction; here was this film, considering itself as such, and yet trying to make us feel that the characters’ life was a reality (and it probably is for a lucky, blessed minority). It sounds a bit confusing, but let’s just say that the director knew he was shooting a typical rom-com, and yet, tried to play with the conventions and the limits of that genre. Even if, in the end, it still is a very cute chick flick, with plenty of humour and heart. As a film per se, it isn’t great; but as a rom-com, it doesn’t get any better than this…

* Shooter, directed by Antoine Fuqua. I actually didn’t know he was the one directing this film (he shot one of the worst films I’ve ever seen), or I would have never wanted to see it. I was displeased to see his name coming up onscreen, but I guess this was my fault since I hadn’t bothered to check in the first place. The truth is I was somewhat misled by critics, who kept claiming this film was similar to The Bourne Identity, and of course, it really wasn’t. Quite the opposite, actually. To me, the Bourne films embody everything that is smart and thrilling in action movies; they really do. They focus on its protagonist’s past first, his search for answers on his own identity, and his inner dilemma when he finds out about it. Jason is not a hero, he hasn’t done noble things at all; the American governement is also to blame for this, but not entirely, too. There’s just a certain complexity to the characters’ feelings; and the theme of atonement, or redemption, was beautifully explored in the sequel. But Shooter? Is nowhere near that. It’s even at the far end of that.
There’s plenty of things in this films that I found unacceptable : plotholes in the screenplay, in the personality of the hero (which isn’t developed at all, and consequently, you don’t actually care for what happens to him); but most unbearable of all was the unsufferable, simply idiotic black-and-white vision. Bad guys in the governement are baaad and eeeeeeviiiil, and the hero is good, noble and can actually justify what he’s done with a good dose of patriotism. Also, there are all those political undertones about current events (the Iraq war, mostly), which are admirable because the director is clearly not pleased with the US governement; but are so clumsily tied in with the rest of the film, that you can’t help feeling dismayed at the attempt. The entire film is of rather bad taste, I daresay. Photography and locations are the only thing worth saving in this mess.

* Nos Amis les Terriens, directed by Bernard Werber. I rather liked this mockumentary (as they are apparently called) but it requires a very sharp, dry sense of humour. I wouldn’t recommend it to everybody, because it’s very particular in its own little way. Humans are depicted and dissected as animals, under the foreign eye of a narrator who is of another world, or galaxy. Hilarity ensues, naturally… It’s quite difficult to describe what makes it so funny; it probably arises from the narrator’s lack of understanding when confronted to the irrational human behaviour and quirks. Seeing it from his point of view surely makes us strange creatures indeed. It’s quite upsetting, you do feel a bit ashamed to be human! One thing that was lacking, though, is the depths to which the film could have gone into. It only focuses on a group of humans (two couples), and on trival subjects. What of violence, and war, and politics, and all those things that shape the world we live in? There isn’t a single mention of all the atrocities that can be perpetuated by humans, or of how fucked-up the planet gets as time passes by. I know the director probably wanted to emphasize the comedic aspect of it all, and didn’t figure a way to make fun of certain things (because there isn’t one). But it’s still a shame, because there are so many things to be denounced and criticised, and he did nothing of it. It’s still an interesting, offbeat film…