LiveFromCannes Tagged Articles at Cinematical

I'm home from the Cannes Film Festival now, after nearly two weeks of great movies, interesting interviews, and lots of conversation with many very smart film folks over dinner, drinks at the La Petit Majestic, or lingering cups of cafe au lait at cutesy cafes. This was my first year at Cannes, and I think it's now my second favorite film festival (I don't think any fest will ever take first place over Telluride in my little film-geek heart).

Your first time at Cannes can be overwhelming; there's much to learn and assimilate, and you have to do it pretty quickly. I had to get by on my shockingly limited knowledge of the French language, since I took German in high school (hey, I hung with the punk crowd, and we weren't going to take French with all the preppies). Fortunately, I had James Rocchi there to guide me and act as my interpreter; he jokes about his French being poor, but I assure you, he does quite well.

Gallery: Cannes 2008 -- The Wrap-Up

During the roundtable interviews for Synecdoche, NY today, actor Tom Noonan, who plays one of the "wild things" in Spike Jonze's adaptation of Maurice Sendak's classic children's book, Where the Wild Things Are, chatted with us a bit about the film.

Noonan confirmed that the film was not shot using motion capture, but is "mostly live action -- they shot us (the actors) in a room, they video-taped us doing the parts, and then they trained acrobats and dancers and had them imitate our gestures, then put them in the costumes and had our voices coming out."

Sergey Dvortsevoy's Tulpan won the Un Certain Regard category at the Cannes Film Festival tonight, with Tokyo Sonata taking the Jury Prize. Well, darn ... it figures that one of the few films we didn't manage to catch at the fest ended up winning the category.

The film is a Kahzakstanian tale of a young man who must marry before he can become a shepherd, but the only prospect he has is Tulpan, the daughter of another shepherding family, who doesn't like him because his ears are too big.

Well, folks, I think we've just seen what may end up being the worst film at Cannes this year, Wim Wender's Palermo Shooting. I didn't like Serbis, but I stuck it out to the wretched end of Palermo Shooting out of some masochistic desire to see just how bad it was going to get. Man, I'm disappointed.

I had high hopes for this film, with the stills of Dennis Hopper, who has the misfortune to play Death in the film, looking like an extra from a bad vampire movie, but the poor guy is given some of the worst lines ever written for a film. When he deadpans, "I'm sick of playing the bad guy," and then segues into a bizarre rant on digital versus analog photography, you wonder if he's secretly bemoaning his decision to take a role in this film.

Early this morning, Charlie Kaufman's newest film, Synecdoche, NY, screened for press, and man, is that film two hours of mental-mindf*ck. I'm not the only critic here wishing the fest had screened this film last week; everyone is way too fried at this point to really sink their teeth into a film requiring this level of intellectual attention, and most of the folks I talked to after the screening felt they really need to see it at least once more to really wrap their minds around it.

Gallery: Cannes in Photos: Synecdoche, NY Press Conference

I'll have a full review up of Kelly Reichardt's new film, Wendy and Lucy, up later, but a quick note on tonight's screening of the film. Reichardt made 2006's critically acclaimed Old Joy, and Wendy and Lucy was one of the films I was most looking forward to checking out here at Cannes.

The big movies are great, but the joy of seeing a smaller film like this at a fest like Cannes is one of the best parts of attending this festival. All I'll say for now is that I liked Wendy and Lucy even better than Old Joy, and Michelle Williams's performance (which is pretty much the entire film) is great.

Williams, looking absolutely lovely in a lacy gold dress, showed up briefly in the Salle Debussy theater with the cast and crew to wave at the crowd from the stage. Audience response to the film was positive, though I didn't really expect any boos with that much of the cast, and particularly Williams herself, in attendance.

I don't believe she stayed for the screening, though -- the pic above was taken on the red carpet for the premiere of Adoration, which was screening tonight next door at the Lumiere (with Cinematical's James Rocchi covering the red carpet for IFC), so I expect she quietly slipped out when the lights went down to attend that.

Upcoming: Review of Atom Egoyan's Adoration; tomorrow is the screening of Charlie Kaufman's Synecdoche, NY, and the Sony Pictures Classic lunch/roundtable for Adoration, followed by Wim Wenders's The Palermo Shooting.

We just walked in the door after the four-and-a-half hour screening of Steven Soderbergh's Che, one of the most anticipated films at the Cannes Film Festival, and I just had to bang out a quick post to say ... wow. The film is just amazing, in every possible way. I went into it a bit trepidatiously; four-plus hours of guerrilla warfare was either going to be awesome or very, very bad. I walked out feeling like I'd just had the cinematic equivalent of winning the Lotto, and I'm still on a high from the film.

James will have a full review up soon (yeah, he won the coin toss on that one), but for now, here's my immediate reaction. Consensus among many of the very smart people I know here at Cannes (well, except for Variety, apparently) is that Che will almost definitely win the Palm d'Or, and if Benecio del Toro doesn't win the Best Actor Oscar come January, there's something wrong with the world.

The other night, James and I walked out of our first film at Cannes, Brilliante Mendoza's Serbis. Actually, this is the first time I've ever walked out before the end of a film at a festival; generally, I feel it's my job to watch films here, the good, the bad and the ugly, and so I sit through them, however wretched they may be. But not this time. It's too bad, really, because Serbis is the first Filipino film to ever play in competition in Cannes and I was hoping to like it, but ... ugh.

The film opens with a scene of total gratuitous nudity -- a young Filipino girl, just out of the shower, preening in front of a mirror and practicing saying "I love you" in what she thinks is a sexy way. And that scene would have been just fine like that, without the voyeuristic panning down to breasts and pubic hair. I'm not a prude by any stretch, I have no problem with nudity and sex in films if it serves an actual purpose, but watching that scene all I could think of was, well, there's a shot that exists only to please the guys who have the hots for young, naked Asian girls. Which for me, just made it feel exploitive.