In the Links

• The New Yorker Kathleen Turner is singing... yes, singing, at Cafe Carlyle for a week or so. OMG I'd love to cover that for y'all but that place is pricey.
• Film School Rejects the troubled history of the film adaptation of Lin-manuel Miranda's In the Heights may finally be ending with Warner Bros snatching up the rights
• MNPP on the trailer for the art slasher flick Knife + Heart premiering at Cannes

 

• The Guardian thoughtful piece by Xan Brooks about provocative cinema, Cannes, and Lars von Trier in our new age of moralizing
• Playbill California readers take note. At the upcoming Hollywood Bowl production of Annie, Megan Hilty, Ana Gasteyer, and Lea Salonga star. Fun casting! And those voices!!
• Boy Culture Trinity Taylor makes over Nico Tortorella who now identifies as gender fluid, or as he says 'sort of cisgendered but not so... CISSY
• AV Club Jordan Peele producing a series set in the '70s about Nazi-hunting in NYC. What now?
• DListed obsesses over a strange Cannes moment with John Travolta and 50 Cent
• MovieMaker profiles Geena Davis's Bentonville Film Festival 
• W Magazine interviews Brie Vinaite on her busy post-Florida Project life
• Film School Rejects "How Marvel Broke Storytelling" a good piece on exactly what the problem is with how they've trained audiences and deferred endings
• Playbill This is so heartbreaking. Just a few months ago Tony-winning actress Ruthie Ann Miles (The King and I) lost her daughter (to a driver who hit five pedestrians including Miles) and now due to complications from that tragic event she's lost her unborn child
• ExtraTV silly bro clip of Josh Brolin talking about his naked ad for Fish Love

Exit Video
Here's the trailer for the series finale movie of Sense8. Sad that this singular series from the Wachowski sisters and J Michael Straczynski is ending but glad we'll have closure.

Say What? Uma and Matt in "The House That Jack Built"

Amuse us with a line of dialogue or a caption for this first image of Uma Thurman with Matt Dillon in serial killer film The House That Jack Built. A new poster and Cannes news after the jump...

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Björk's "Danish Director" Statement

By Nathaniel R

Catherine Deneuve, Björk, and Von Trier at Cannes (2000)

The floodgates have opened post Weinstein and now everyone wants to speak out. This morning Björk issued a statement about her experience working with "a Danish director," a hilariously coy non-naming of names since she's only starred in one movie, Lars von Trier's Dancer in the Dark (2000) after which she never appeared in a movie again, unless you count her performance art collaboration with her then-boyfriend Matthew Barney on Drawing Restraint (2009). Which, well, the sexual violence was onscreen in that one with Barney and Björk carving each other up while naked underwater and turning into whales or some such. You know how that happens.

Here is her statement which is worth parsing due to its unexpected Dogville allusion...

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Cannes Best Actress: Awarding the Best Since 1946

Bonjour! Robert Balkovich here. As the 70th Cannes film festival kicks off let's take a stroll down memory lane and revisit some of the most bold, daring, and 100% correct Best Actress awards the festival has given out. 

When you look at the list of names all together it's hard to argue that it isn't one of the best collection of actors ever grouped. The festival's penchant for awarding the best-of-the-best, started early...

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Stage Door: Believing in Breaking the Waves, the Opera

Daniel here to discuss the latest transfer from big screen to live stage. 

Bess McNeill, the golden-hearted islander at the center of Breaking the Waves, is a woman of astonishing faith. It is the source of her resilience and it is her undoing, though the salacious facts of her downfall can distract from the strength of her conviction. However, the whirlwind of anonymous sex, medical trauma and social exclusion that characterize the second half of the film do not undo the romantic catechism of its first scene. 

Bess sits in church, beset by the stone-faced Calvinist elders of her community. They demand to know why she wishes to marry an outsider, an act they clearly interpret as a spiritual betrayal. She responds to their questions with an irrepressible joy. Her confidence in her own love, as well as that of her fiancé, is as compelling a testament of faith as has ever been put to film. 

Or, as the case may be, as has ever been put to music...

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