Almost There: Gene Hackman in "The Conversation"

by Cláudio Alves

This past weekend, Francis Ford Coppola's The Conversation celebrated its 50th anniversary. Originally released in 1974, the film represents the peak of the paranoia thriller craze of that decade, encapsulating a cultural zeitgeist along with the creative zeal of New Hollywood. And yet, it's usually overshadowed by the director's other release that year – Best Picture winner The Godfather Part II. Thankfully, at The Film Experience, we've regularly showered praise on The Conversation, whether in Cannes at Home musings or Hit Me With Your Best Shot analysis. That said, one element remains under-discussed, a facet of this masterpiece so essential that, without it, the entire project would fall apart. It's Gene Hackman, of course…

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Cannes Winners for the 76th Edition

by Nathaniel R

Jane Fonda handed the Palme to Justine Triet "Anatomy of a Fall". Photo © Andreas Rentz / Getty Images

The 76th edition of Cannes has wrapped. The closing ceremony brought an end to a week plus of speculation about prizes. French auteur Justine Triet, of Sybiil fame, took the coveted Palme d'Or for her fourth narrative feature,  Anatomy of a Fall. She's only the third female director to win the prize (after Jane Campion for The Piano and Julia Ducornau for Titane) though the fifth woman (Actresses Léa Seydoux and Adele Exarchopolous shared the Palme with their director in a non-traditional jury decision the year of Blue is the Warmest Colour).

A whole slew of awards (and, thus, titles to look out for at future festivals) are after the jump...

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Cannes at Home: Days 9 & 10 – Champions of Festivals Past

by Cláudio Alves

Just as the favorites for the Palme d'Or seemed to have settled, here comes another barrage of rave reviews to muddy the waters. Not only is it impossible to predict what Östlund's jury will choose, but it seems like, every day, the critics elect a new title to champion. On the ninth day of the festivities, Trần Anh Hùng's Pot-au-Feu dazzled many with its gastronomic love affair, making comparisons to Babette's Feast. Then came Nanni Moretti's A Brighter Tomorrow, less acclaimed but blessed by enthusiast defenders. On the 10th day of Cannes, it was time for Wim Wenders' Perfect Days to ignite Best Actor speculation, while Catherine Breillat's Queen of Hearts remake became another instant frontrunner for the big prize. Will Last Summer take the Palme? 

For the Cannes at Home series, the focus shall be on these auteurs' past festival successes. The Scent of Green Papaya earned Hùng the Camera d'Or and Vietnam its only Oscar nomination. Moretti won the Best Director prize at Cannes '93 with Caro Diario, and Wim Wenders was the Palme victor of '84 with Paris, Texas. Finally, there's Breillat's hyper-controversial Fat Girl, a prizewinner from the 51st Berlinale…

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Palme d'Or Champions: En francais, s'il vous plaît

by Cláudio Alves

Apologies for my absence in the past few weeks, dear readers. Two back-to-back festival makes up a daunting task, when it involves over fifty write-ups. Anyway, eager to jump back into The Film Experience. To ease the way a curious trifle. As I was browsing through Twitter, I came across a curious conundrum in the form of a new French poster for this year's Palme d'Or winner, and the title splashed across its badly Photoshopped self. While Ruben Östlund's latest is called Triangle of Sadness or a direct translation in nearly every territory, those French distributors had another idea. In the land where it won the Croisette's highest honor, the film is known as Sans Filtre…

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Cannes at Home: Day 5 – A Tale of Two Victors

by Cláudio Alves

The fourth day of Main Competition screenings saw the premiere of two films by former Palme d'Or winners. First up, Swedish auteur Ruben Östlund returned to the Croisette after taking the festival's top honor with The Square. Triangle of Sadness is the director's first film since then, perchance indicating a newfound obsession with geometrical titling. Reactions have skewed positive, though there are dissenting voices. Then, it was time for Cristian Mungiu to present R.M.N, this year's first major Palme contender as far as critical reception is concerned (Elisa's review). It should be noted that this is the fourth time Mungiu has presented a film in the Main Competition – all three previous projects won prizes, setting a good precedent for the Romanian master. 

Logically, when discussing these laurelled artists, the mind drifts to their victorious flicks. Today's Cannes at Home selections are The Square and 4 Months, 3 Weeks and 2 Days…

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