Burt and Verona (John Krasinski and Maya Rudolph) don't quite have things figured out yet. I mean, they pretty much have each other pegged, enjoying a marriage-less relationship, keeping each other warm on those cold Colorado nights, and they know that they want to bring a kid into this world -- well, want to or not, the baby's coming, and so they'll keep it warm as well.

Their parents won't be of much help. After all, his (Catherine O'Hara and Jeff Daniels) are making plans to take off for Europe just before the baby's due, a trip years in the making and selfish as all get out, while hers passed away some time back. So Burt and Verona decide to visit other family and friends, looking for people they can depend on in places they could grow up in, let alone grow old in -- looking for a place that might help them figure out together the whys and hows of keeping it all together.

The Cannes Film Festival drew to a close on Sunday evening with the presentation of the Palme d'Or to Michael Haneke's The White Ribbon. Filmed in black and white, it's "a two-and-a-half hour parable of political and social ideas set entirely in a north German village in 1913 and 1914," says Dave Calhoun at Time Out London. Haneke "solidly resists answering the 'what's it all about?' question and makes you work hard to make sense of what you're seeing." David Hudson at IFC's The Daily has gathered the reviews, some of which endeavor to answer the "What's it all about?" question.

As is often the case, the nine-member jury passed out awards to as many films as possible. The Grand Prix (or runner-up) went to Jacques Audiard's A Prophet; Special Jury Prize to Alain Resnais for Wild Grass; and Best Director to Brillante Mendoza for Kinatay. Christoph Walz won Best Actor for his performance in Quentin Tarantino's Inglourious Basterds and Charlotte Gainsbourg won Best Actress for Lars von Trier's controversial Antichrist. The complete list of winners can be easily viewed at indieWIRE. The festival's official site has a great set of award ceremony photos.

Here's a roundup of Cannes films we can expect to see in coming months. Corrections and updates will be appreciated.

CANNES TITLES WITH U.S. DISTRIBUTION

• Antichrist (IFC)
• A Prophet (Sony Pictures Classics)
• Bright Star (Bob Berney and Bill Polhad)
• Coco Chanel & Igor Stravinsky (Sony Pictures Classics)
• Drag Me to Hell (Universal)
• Humpday (Magnolia Pictures)
• I Love You Phillip Morris (Consolidated Pictures Group)
• Inglourious Basterds (Weinstein Co.)
• Looking For Eric (IFC)
• Precious (Lionsgate)
• Taking Woodstock (Focus Features)
• Tales From the Golden Age (IFC)
• Thirst (Focus Features)
• Up (Disney Pixar)
• The White Ribbon (Sony Pictures Classics)

You can access all our Cannes coverage via this handy link.

Erotic Vampires. Park Chan-wook's Thirst will have its international premiere at the upcoming Cannes Film Festival, but it's already opened in its native South Korea. In his review for Screen International, Darcy Paquet says that the "visually arresting vampire movie Thirst looks certain to create a stir: adopting a more lyrical mode than before, this complex and supremely inventive work sees the filmmaker back on top form."

I've read the knowledgeable Paquet at his site Koreanfilm.org for years, so his opinion is very encouraging, especially when you consider Park's best work includes Old Boy, Sympathy for Mr. Vengeance, and Joint Security Area. [Via In Contention.] Even better: those of us in the US don't have to wait long to see it. Focus Features will release Thirst in July.

Gentle Fish. If you haven't marked August 14 on your calendars yet, please do so now. That will mark the US theatrical debut of Hayao Miyazaki's Ponyo, the master filmmaker's latest work of art. The plot revolves around a princess who just happens to be a goldfish, and her desire to grow legs and walk on land. She develops a friendship with a 5-year-old boy who tries to help her realize her dream. The poster and a still can be viewed at Ain't It Cool News.

Under John Lasseter's committed oversight, Walt Disney Pictures has done right by Studio Ghibli so far, making the original Japanese-language version available at some venues and ensuring that the English dubbing is as faithful as possible. While we wait for the inevitable English-language trailer, here's a teaser, evidently for its release in France, that is silky, poetic, and non-verbal.

A man with no name sits down at an outdoor cafe and orders two espressos in separate cups. A flock of birds gently take flight. A helicopter briefly whirls overhead. The man sips espresso. Silence. Calm.

A man with no name sits down at an outdoor cafe and orders two espressos in separate cups. A flock of birds gently take flight. A helicopter briefly whirls overhead. The man sips espresso. Silence. Calm. He is approached by another person, who sits down. The other person says "You don't speak Spanish, right?" The other person says something more, in Spanish or in another language. The man removes a matchbox from his pocket. The other person places a matchbox with the same design, but a different color, on the table. The matchboxes are exchanged. The other person says something more, and leaves. The man opens the newly-exchanged matchbox, takes out a tiny piece of paper, unfolds it, reads the coded, hand-written message on it, puts it in his mouth, and swallows it along with another sip of espresso.

A man with no name sits down at an outdoor cafe ...

So goes Jim Jarmusch's The Limits of Control, the perfect summer movie for people who prefer museums to amusement parks. Wearing a multitude of enigmas on its well-coifed sleeve, the film is cool, dark, mysterious, and altogether refreshing. Isaach De Bankolé plays The Man With No Name (actually identified as "Lone Man" in the credits), and if that moniker calls forth memories of Clint Eastwood in Sergio Leone's Spaghetti Westerns, so much the better, though Lone Man's espressos, matchboxes, and chastity place him firmly within the realm of post-modern masculinity.

Ah, the Croisette. I can feel the sun on my face, the wind in my hair, the gentle crash of the waves reverberating through my ear canal... oh, wait. None of that rings a bell, because I've never been to the Cannes Film Festival.

But those who have seem to love it, and with a lineup like this year's, it's not hard to see why. As we recently mentioned, the fest will open with Pixar's apparently awesome Up, and showcase the latest from Quentin Tarantino (Inglorious Basterds), Ang Lee (Taking Woodstock), Terry Gilliam (The Imaginarium of Doctor Parnassus), Michael Haneke (The White Ribbon), Pedro Almodovar (Broken Embraces), Ken Loach (Looking for Eric), Lars von Trier (Antichrist), Alejandro Amenabar (Agora), Michel Gondry (L'epine dans le coeur) and Park Chan-wook (Thirst), among others.

Yes, there's more. Sundance hit Precious (formerly Push) will make an appearance, as will SXSW fave Drag Me to Hell (to see all those tuxes and gowns jolt from their seats might qualify as an entertainment all its own). The 62nd Festival will run from May 13th to the 24th, and Erik, Scott: you still totally have time to send me, and I still totally have time to get a tux, and to update my passport, and to learn French... Just think about it.

At last year's Cannes Film Festival, it was reported that Kevin MacDonald was interested in directing the Roman epic The Eagle of the Ninth once he wrapped up State of Play. Nearly a year later, Variety is reporting that he's officially on board along with scriptwriter Jeremy Brock, and beginning to assemble his cast.

The cast is a little surprising -- Jamie Bell is signed to play a Celtic slave, and Channing Tatum is in talks to join him as his Roman owner. I would have expected MacDonald to favor a British cast, and not an all-American type like Tatum, but hey -- he's certainly got the build and bone structure for a Roman officer.

Ninth is based on Rosemary Sutcliff's popular 1954 novel, and centers on a young Roman officer named Marcus Aquila. Forced into an early retirement after being wounded, he travels north with his Celtic slave (who will be played by Bell) to discover what became of his father's Ninth Legion, who vanished in the Scottish Highlands. Marcus also seeks to retake the legion's gold Eagle and reclaim the legion's honor. (The facts Sutcliff based her book on have since been debunked -- the Ninth Legion existed after 117 A.D., and is now believed to have been slaughtered in the eastern half of the Roman Empire. Not as poetic, though.)

As I believe there can never be too many sword-and-sandal epics, I'm anxious to see this one come together, especially since they'll be bowing to authenticity and in the Scottish Highlands. It may be fudgy on the facts, but that doesn't mean it won't be an enjoyable costume drama.

Sequels are rarely good news -- but this one is. MTV News caught up with David Cronenberg, who revealed he was moving forward with a sequel to Eastern Promises.

"We are going to have a meeting very soon between me, Steve Knight and Paul Webster to discuss what the script would be," Cronenberg said. "I have some very strong ideas about what I would like to see, but I would like to hear what they have to say as well. And then after that, if all goes well, Steve goes away and writes a great script. If we all like it, we make it." If they make it, Viggo Mortensen will return.

Cronenberg has never had any interest in revisiting his work -- and little of it ever has the loose ends that Eastern Promises did. "It's the first time I've ever been in a situation where I actually want to do a sequel to something. I've never had the desire to do that before. But in this case, I thought we had unfinished business with those characters. I didn't feel that we had finished with Nikolai and we had done a lot of research that was more than we could stuff into that one movie."

I'm thrilled beyond belief. The film exists perfectly fine on its own, but the mysterious Nikolai is begging to be explored further onscreen. I'll tip-toe around spoilers, but I never could understand why so many audience members believed it to be a happy, cut-and-dried ending.

If you're curious and into research, there's some fantastic essays in Vol II of the Russian Criminal Tattoo encyclopedia. Given the scarcity of books on the topic I imagine this went into their research, plus the essays are rather Cronenberg-esque in the way they examine the tattoos and their effect on the human body. It gives an insight as to what Cronenberg and Mortensen might have had in mind when they created Nikolai. Definitely worth a read ... and a sequel.

When I last posted about Ang Lee's Taking Woodstock, I called it a "gay-themed project" and speculated that the film might be about how the main character's involvement in Woodstock "served as redemption for giving up his own artistic ambitions and living most of his life in the closet." Now that I've seen the trailer, which you can watch below, that pompous description seems laughably wrong-headed. This won't just be "lighter" than much of Lee's previous work, as I also wrote; it's a full-on slapstick comedy, complete with a classic underdog storyline, and showdowns between hippies and uptight old fogeys.

Mainstream comedies tend to be under-directed. Even the Team Apatow films, while generally outstanding, don't exactly distinguish themselves formally or stylistically. But Lee is so damn deliberate and meticulous, with every shot and every cut calculated just so, that I'm really curious to see how he handles something this lightweight and apparently raucous. It certainly looks like a new Ang Lee mode; his last film that could be called a comedy was 1993's wistful Eat Drink Man Woman, and Woodstock seems to be worlds away from that film. Before that, Lee made a Taiwanese film called The Wedding Banquet that sounds like it might be closer, but I haven't seen it.

Anyway, I think Demetri Martin, who stars and introduces the trailer, is an extraordinarily funny guy (anyone seen his show on Comedy Central?), and how awesome is it to see someone other than Christopher Guest cast Eugene Levy in an actual movie as opposed to the latest direct-to-DVD American Pie "sequel"? This looks like fun; it's set to be released August 14th.

(We're reposting this Sundance review to coincide with the film's theatrical release this weekend)

By: Erik Davis

One of the more fascinating and gut-wrenching films at this year's festival, Sin Nombre managed to snag a couple of awards (Best Director and Best Cinematography in U.S. Dramatic Competition) before skipping town with a writer-director who's sure to become Hollywood's next great filmmaker. The film, while frequently heartbreaking to watch, also comes with its own unbelievable story. Focus Features became involved early on based solely on its script, and then proceeded to provide financing to a first-time feature director for a film that was entirely in Spanish and featured some main actors that had never been in a movie before. The good news for Focus is their gamble paid off, and Sin Nombre is easily one of the best films of 2009 so far.

Essentially a road trip thriller with a love story mixed in, Sin Nombre tracks the fate of three teenagers traveling through Mexico on their way toward the U.S. border. Sayra (Paulina Gaitan) is living a hard life in Honduras when her father and uncle decide it's time for the three of them to attempt to cross over into the United States and meet up with dad's "other family" in New Jersey -- full of brothers and sisters her pop fathered before he was caught and deported. But the journey is a tough one: First the trio must cross a river into Mexico, and then hop a train (by riding on its roof) for a three-week journey to the border. Before the train arrives, Sayra's father tells her that half the people traveling with them (100-200) will either die or be caught by border police and sent back home. Nevertheless, the promise of a better life on the other side is too appetizing to ignore.

In a move that comes as little surprise to anyone who saw the opening weekend grosses for You Guys Are No Hannah Montana: The 3D Concert Experience, it appears that most 3D-equipped screens will be bringing back the critically acclaimed and fairly successful Coraline as a proper theatrical experience starting this Friday. (Make that one less excuse for the animation-savvy likes of Mr. Weinberg. Guy lurves the stuff.)

According to Box Office Mojo, seventy percent of Coraline's $17 million opening weekend was from 3D venues, and the film managed to gross nearly $54 million as a whole before the Jonas Brothers landed three weeks later. However, their $12.5 million opening weekend (compared to Miley Cyrus' twice-as-high opening on half as many screens) and subsequent 77% drop in attendance last weekend suggests that the remaining fortnight before Monsters vs. Aliens lands would be best suited to a film that might still draw a crowd, one of a significantly broader demographic appeal.

Okay, so all numbers aside, families who haven't seen it yet should find it considerably more inventive than the likes of Race to Witch Mountain (though I still wouldn't take the youngest tykes), and anyone else interested now has a chance to catch it proper before it's replaced by another 3D offering that I can only presently assure you will be equally worth your while and dollar.