The Buzz in Cannes

Apparently, Almodovar's "Volver" is poised to take the Palme D'Or at Cannes. Seeing as how his last few films have been extremely good, this is great news. Many critics are also taking note of Penelope Cruz's performance.

Fans of "Donnie Darko" are going to be disappointed with the news that Richard Kelly's newest film, "Southland Tales," is a critical bomb. It's not particularly surprising given that Kelly enlisted The Rock, Sarah Michelle Gellar, and Sean William Scott for a bizarre futuristic musical.

Most disappointing in my eyes, is the negative buzz around Sofia Coppola's "Marie Antoinette," which reunites the director with Kirsten Dunst. While the film hasn't been recieved as negatively as "Southland Tales," the news is unfortunate.

Any thoughts?

-Kurtis

From what I gather, the alleged negative reaction to "Marie Antoinette" was simply false information, or a reporter who wasn't used to the fact that Cannes' audiences boo just about anything. According to Ebert, the "chorus of boos" was less than 10 people, and critics have generally warmed to it.

Personally, I'm sick and tired of Almodovar who makes the same film over and over, but I guess I wouldn't say that if I actually _liked_ the film he keeps making. To me, he's John Waters with an art-house sheen which sounds like a good thing considering how great John Waters is, but it's really more like Weird Al Yankovic trying to sing classic opera.

As for "Southland Tales," as I told Eddie about six months ago: "Worst. Cast. Ever."

Chris,

Thanks for clearing up the "Marie Antoinette" issue.

I've heard "Babel" is getting very positive reviews, but, in general, this year's Cannes lineup is sounding sparse. Though I've heard "Shortbus" (which I believe is screening out of competition) is a highlight. I have yet to see Mitchell's previous "Hedwig and the Angry Itch."

-Kurtis

My money is on "The DaVinci Code". Ron Howard can do no wrong.

I hear that in France they consider Opie a genius.



Of all the films I have heard about from Cannes so far, the one that strikes my fancy the most is "Red Road" by first-timer Andrea Arnold. I'll be keeping an eye out for it.

An interesting note: Richard Linklater is now the first director ever to have two films playing in competition the same year at Cannes. Neither has a chance of winning anything, but he's got plenty to be proud of. I'm looking forward to "Fast Food Nation" more than "A Scanner Darkly" but I'll certainly be seeing both of them.

The French Legion of Honor award is given to so many people that it's basically worthless. "Hey! You're a human being! Let's give you a big hug."

Proving that in Cannes, just like in Hollwood, nobody knows anything, Ken Loach's "The Wind that Shakes the Barley" won the Palme d'Or, a selection nobody expected. Ebert didn't even mention the film in his most recent article speculating on potential winners. It's pretty surprising since Loach is one of those British social realists whose films seem to have a local, but not necessarily global, appeal. In other words, he is "veddy veddy British" as Anthony Burgess would say. I admit that the term "social realism" when preceded by the word "British" does not exactly fill me with joy either, but it's still the winner. Loach has won some secondary prizes at Cannes, but this is his first Palme d'Or.

De Palma's early movies are definitely his best though "Femme Fatale" was what I call a "half-return to form" for him. The "Be Black, Baby" segment in "Hi, Mom" is one of the funniest satirical pieces ever committed to film.

DePalma basically exiled himself to France, the only place that he could find funding for "Femme Fatale".

Chris,

I've often heard that De Palma is also regarded as a genius in France. After all, Cahiers du Cinéma named "Carlito's Way" (1993) the best film of the 1990s. While I have respect for De Palma's work, I think his early films were his best--my favourite being "Hi, Mom!" (1970).

-Kurtis