Podcast: Cannes Preview

On this week's podcast Nathaniel R (The Film Experience) grills Cannes enthusiast Nick Davis (Nick's Flick Picks) on the difference between the competitive slate, un certain regard, and director's fortnight. We discuss the complete competition lineup for 2014 and answer reader questions, too. 

00:01 Jane Campion and her jury
04:30 Un Certain Regard vs. Director's Fortnight 
08:00 Camera D'Or & The Disappearance of Eleanor Rigby 
13:00 Ronit Elkabetz & Ryan Gosling's new films
16:00 Olivier Dahan's Grace of Monaco troubles 
18:00 The Competition Lineup
With sidebar chat on Olivier Assayas, Nuri Bilge Ceylan, Mike Leigh, Dardenne Bros, Xavier Dolan, and Mike Leigh
37:30 Which directors should Cannes take a break from?
39:45 Hilary Swank and Best Actress
42:45 Nick and Nathaniel name least favorite Palme D'Or Winners
46:00 Juries of yore: Tilda Swinton, Sydney Pollack, Sally Field, Kathleen Turner, Quentin Tarantino

Who could have ever imagined this trio? Cannes 2004

You can listen to the podcast here at the bottom of the post or download the conversation on iTunes. As always you should continue it in the comments so we can feel you out there in the dark. What's your favorite Olivier Assayas? Your favorite Dolan? And which Palme D'Or win baffles you?

Related Articles
Cannes Line-Up | Meet the Jury | Jessica Chastain in Vogue | Nathaniel's review of The Disappearance of Eleanor Rigby Parts 1 and 2 

Cannes Preview 2014

The Amazing Samey-Man, A Redundant Box Office Chart

Amir here, with the weekend’s box office report. For the past ten days, I have been drowning in a stack of Hot Docs screeners, missed deadlines and research for [shameless self-promotion!] the next episode of my podcast. As I recover from all of that, it is reassuring, in a perverse way, to look at the box office top ten and realize that all is the same in the world. Order is restored. The audiences are happy. A fucking superhero film has won the day.

The Amazing Spider-Man 2 came out on top with a figure that is being labelled “disappointing” around the web despite being higher than the GDP of nine small countries combined. Sure, that number is lower than the earnings of previous Spidey outings, but none of the preceding films suffered from an Electro that looks like an early draft version of a bad 80s sci-fi villain, or a Harry Osborn that looks like an early draft version of a bad 90s Leo DiCaprio. All this despite tens of millions of dollars spent on the CGI budget...

LOLZ

THE TOP TEN
01 THE AMAZING SPIDER-MAN 2 $92 *NEW* 
02 THE OTHER WOMAN  $14.2 (cum. $47.3)
03 HEAVEN IS FOR REAL $8.7 (cum. $65.6) 
04 CAPTAIN AMERICA: THE WINTER SOLDIER $7.7 (cum. $237.1) Review
05 RIO 2 $7.6 (cum. $106.4) 
06 BRICK MANSIONS $3.5 (cum. $15.4)
07 DIVERGENT $2.1 (cum. $142.6)  Review
08 THE QUIET ONES $2 (cum. $6.7)
09 GOD'S NOT DEAD $1.7 (cum. $55.5)
10 THE GRAND BUDAPEST HOTEL $1.7 (cum. $51.5)

The rest of the top ten looks mostly similar to previous weeks. The Other Woman, a film led by three women that miraculously manages to fail the Bechdel test, is in second place, while Heaven Is For Real and God’s Not Dead continue to surpass all expectations as they hold on to the third and ninth positions, respectively.

On the limited end of things, Walk of Shame proved to be an aptly portentous title for the film's red carpet premiere, as it limped to a $745 per screen average on its opening weekend, but two smaller films did solid business. Belle, a historical drama about the true story of an illegitimate mixed-race child to a navy admiral received respectable reviews, while the Polish film Ida, Pawel Pawlikowski’s black and white, WWII drama has become one of the most critically acclaimed films of the year. I saw this one at TIFF last year, and its meticulous, chilly design gained my admiration more than love, but I’d happily give it another shot.

What have you watched this weekend?

First Round Predix: 5 Questions About Best Supporting Actress

"Actressing on the edges" is one of our favorite things, as the Smackdowns should make clear. Since most TFE readers are similarly affected with this obsession love, we assume you'll have plenty to say on the topic of "Best Supporting Actress" even before you've seen the performances and movies in question here. 

Will The Baker's Wife (Emily Blunt) cheat on her husband with a handsome Prince (Billy Magnussen)? Anything can happen in the woods

Oscar traction for the supporting categories of either gender is always hard to see in advance primarily because the size and substance of the roles in question aren't broadly telegraphed in advance the way lead characters tend to be. (It's not even always clear with adaptations of familiar material since role compositing happens and focus can shift characters from one version of a story to another.) What's more, supporting campaigns are often dependent on love for the lead actors and for the movie itself and the reverse is hardly ever true.

But speculation is fun! 

01. INTO THE WOODS
Who will win MVP reviews? This is always a pertinent question for ensemble properties when it comes to awards traction. In the first Broadway production in the 80s The Witch and The Baker's Wife were where it was at. In the revival in the Aughts people seemed more obsessed with Cinderella and, arguably, Jack. Into the Woods is funny like that, shifting focus and soul with each production. Some people though the recent short revival in Central Park with an all star cast turned the show over to The Baker (Denis O'Hare at the time who is not in the movie). Despite shifting love from viewers, The Witch (Meryl Streep in the movie) is always considered the lead role but that's only because it's the "star" part, not because the role is larger than the others. (Technically speaking Jack is probably the biggest role). If Streep goes lead that'll leave Anna Kendrick's Cinderella and Emily Blunt's Baker's Wife as our possibilities. I'm currently predicting Oscar favor to lean in Blunt's direction. Maybe that's wishful thinking and the desire to see her strangely quiet career get noisier but there's no arguing that The Baker's Wife isn't a great part (Amy Adams played it in the park recently). This adaptation could go any which way from Oscar behemoth to total flop and any actor could well be the one that gets people excited. Yes, even Little Red Riding Hood (played by the recent "Annie" on Broadway, Lilla Crawford).

After the jump four more pertinent year-in-advance questions about this year's Best Supporting Actress race...

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My 4 Favorite Things About Each Star Wars Movies

"May the Fourth be with you," my friends. Since everyone is required to talk about Star Wars every May 4th, even if they don't want to, here you go. 

Star Wars Episode IV: A New Hope (1977)
01. "I recognized your foul stench when I was brought on board..." Carrie Fisher in all her royally bitchy double-bunned glory
02. "These aren't the droids you're looking for." Sir Alec Guiness (in general) and those delicious British intonations 
03. The opening scrawl and in media res Storm Troopers / Vader attack. This is how you start a movie/trilogy. Death to backstory - just throw us in!
04. The trash compactor sequence. As a child I was obsessed for some reason so it's merely a nostalgic choice.

Star Wars Episode V: The Empire Strikes Back (1980)
01. Love Yoda and the existential mysteries of the Dagobah swamps, you must.
02. That it inspired this cartoon (above) about my youth. "Luke, I am your father"
02. "I love you" / "I know."
04. The perfect mirror of Star Wars opening planet, a hot dry desert (Tatooine), in the unforgiving freezing ice planet of Hoth.

Star Wars Episode VI: Return of the Jedi (1983)
01. The entire Jabba the Hut opening act (my favorite complete act in any Star Wars film). Love every fucking second of it (especially Jabba the Hut) and that it fully earns the wonders of that immortal gold bikini.
02. That the movies kept finding new weird things to do Leia's hair that seemed organic to Princess Organa. 
03. That speeder bike race on Endor
04. The teaser highly graphic poster art with the red and the purple/blue lightsabers. One entire wall of my bedroom (!) was Return of the Jedi posters/stills.

Star Wars Episode I: The Phantom Menace (1999)
01. The release of the trailer. It was so exciting that even a glimpse of the Gungan (Jar Jar Binks and crew) seemed rife with possibility. The horror being yet to come!
02. "The Duel of The Fates" three-way lightsaber battle: great scoring, great choreography, great everything
03. Any glimpse of Darth Maul. And there are only glimpses.
04. Princess Amidala's Kabuki/Geisha/WTF costumes (designed by Trisha Biggar)

Star Wars Episode II: Attack of the Clones (2002)
01. The title had a certain cheesy B movie grandeur about it
02. Um... shots of the Storm Troopers had a kind of military fetishistic panache. 
03. Yoda's bouncing lightsaber fighting style had a big memorability factor despite being stoopid.
04. Ewan McGregor

Star Wars Episode III: Revenge of the Sith (2005)
I don't remember anything other than that I was so glad Star Wars was over. But then... (gulp)...

the cast of Star Wars Episode VII at their first table read last week

Star Wars Episode VII: Title To Be Determined (2015)
01. Hamill & Fisher & Ford. Oh my.
02. Peter Mayhew as Chewbacca (oh please let him have grey fur now! That'd be hot and funny) 
03. Andy Serkis as someone or other or possibly multiple others (because you have to respect that he completely monopolizes that whole new wing of film acting: CGI/actor creations)
04. John Boyega. Finally someone using him for something big and poppy after Attack of the Block.  

Your turn!

Hot Docs '14: In the Spotlight

[Amir, our Canadian correspondent, is reporting from The Hot Docs Film Festival, the biggest documentary festival in North America currently underway in Toronto.]

 One of the tendencies that festival-goers develop over time is finding connecting threads between films that might otherwise be completely unrelated. This unconscious search for umbrella themes, even if unintended by festival programmers, intensifies when you sit down to write about the films. At first glance, there is little connecting three films about aging Belgian transsexuals, Argentinian civilians on camera, and Turkish-American political pundits. Beneath the surface, though, all deal in some way with a desire for self-expression in the spotlight.

Before the Last Curtain Falls follows a group of gay and transsexual performers who get together in the later years of their lives to put on an avant-garde show called Gardenia. When the film begins in the hauntingly beautiful city of Ghent in Belgium, where the performers hail from, the show has already become a massive international success and it is returning home for one final performance after more than 200 outings. Director Thomas Wallner combines interviews with the cast members with footage of the show to paint a portrait of each of them, drawing on their experiences of sexual identity struggle, social oppression and therapeutic theatre work.

Click to read more ...