Yes We Cannes: The 11 Most Exciting Movies at This Year’s Fest
To the dismay of everyone within earshot of my desk, my excitement will not be quelled about how totally major this year’s Cannes Film Festival is going to be. In addition to new awards-contenders from the likes of Quentin Tarantino and Michel Gondry (who didn’t make the list, only because I couldn’t find much on his latest film, L’epine Dans le Coeur), the sun-soaked Riviera festival will premiere Sam Raimi’s return to death and evil, as well as Jane Campion’s first major release since the Kiwi director tried, disastrously, to make Meg Ryan edgy in 2003’s In the Cut. Penelope Cruz hugs a lot of people in Pedro Almodóvar’s Broken Embraces, Ang Lee takes Woodstock and Brad Pitt screams, “Each and every man under my command owes me one hundred Nazi scalps … and I want my scalps!” Oh, and the late Heath Ledger might just get another Oscar. After the jump, the festival’s, if not the year’s, most anticipated films (with trailers).
Agora by Alejandro Amenabar. From the director of The Others and The Sea Inside comes a historical drama, starring Rachel Weisz and Max Minghella, about Hypatia of Alexandria, the Egyptian philosophy professor who fell in love with her slave. Minghella tells BlackBook, exclusively, “Rachel’s performance in the film is, objectively speaking, quite spectacular. Performances in historical films can so easily stray into frigidity, but she injects everything with warmth and modernity, which I really believe is a principle reason why the film is as accessible as it is.” Of his working relationship with Weisz, he adds, “I felt completely comfortable around her. We grew up on the same street in London, and now in New York our apartments are directly opposite one another — which is fantastic for voyeuristic reasons, but also a bizarre coincidence. Maybe it’s our shared geographic history, but I feel very at home around her.”
The White Ribbon by Michael Haneke. While it certainly would have been interesting to watch Haneke eke out another version of Funny Games, the master of torture’s latest project sounds incredible. Courtesy of IMDb: “Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism?”
Taking Woodstock by Ang Lee. Of course the director who turned Jewel into a cowgirl, Kevin Kline into a swinger, Eric Bana into a monster, and Jake Gyllenhaal into a pederast would eventually set his sights on Woodstock. Starring an incredible cast that includes Demetri Martin, Emile Hirsch, Live Schreiber, and Jonathan Groff, audiences surely won’t be able to quit it.
Inglourious Basterds by Quentin Tarantino. Unless you’ve been living under a very large, Brangelina-proof rock, this one needs no introduction. Still, I’m going to overlook the misspelling, and bypass the backlash by moving ahead to the backlash backlash, and just the love the guts out of this movie. Tarantino and Nazis? It’s almost better than Darryl Hannah and an eye-patch.
Coco Chanel & Igor Stravinsky by Jan Kounen. Forget Shirley MacLaine and Audrey Tautou for a minute, and watch Anna Mouglalis transform into the gamine Rue Gambon icon as she navigates a relationship with composer and pianist Igor Stravinsky. And keep an eye on Mouglalis: up next, she’ll star in 2010’s Serge Gainsbourg biopic.
Drag Me to Hell by Sam Raimi. Full disclosure: I saw an unfinished version of this. And, as a huge Evil Dead fan, was excited to see what the director of Spider-Man might do with his return to full-on horror. Alison Lohman plays a banker who pisses off a geriatric gypsy, which leads to one of the best catfights ever to appear on film. That said, some of the effects felt a little amusement-park ride-y, but I’ll reserve judgment until watching the final cut.
Broken Embraces by Pedro Almodóvar. This is the return of “Penelepedro,” the unstoppable force of director Pedro Almodóvar and Penelope Cruz, who last captivated audiences with Volver in 2006. It’s got a film noir feel to it, centers on love and a car crash that leaves the protagonist blind, and features a soundtrack that includes Cat Power and Uffie. It sounds near perfect, really.
Map of the Sounds of Tokyo by Isabel Coixet. From My Life Without Me to last year’s Elegy, Coixet has proved herself a masterful storyteller, which is why we can’t wait for “a dramatic thriller that centers on a fish-market employee who doubles as a contract killer.” Tokyo stars Oscar-nominated actress Rinko Kikuchi, who, in my opinion, is one of today’s most revelatory onscreen chameleons.
Bright Star by Jane Campion. Kiwi director Jane Campion is to dark drama what Amy Heckerling is to romantic teen comedy — no matter how tragically their recent films have bombed, I still get excited when their names are attached to new projects. Like this one. Starring Paul Schneider and Abbie Cornish, Bright Star chronicles the love affair between 19th-century poet John Keats and Fanny Brawne, before Keats’ early death. Actually, I just got sort of bored writing that, but, hey, at least it doesn’t feature Meg Ryan getting her nasty on. Plus, Campion made The Piano, so she’s more than capable of a comeback.
The Imaginarium of Doctor Parnassus by Terry Gilliam. Doctor Parnassus might just be the most exciting of all of the offerings at Cannes this year. Yes, the last time Gilliam and Heath Ledger worked together, they created The Brothers Grimm, which was very much so. And yes, Gilliam’s last film, Tideland, was ugly, misanthropic, and bloated. But after Ledger’s tragic death, actors Johnny Depp, Colin Farrell, and Jude Law stepped in to play the same character in various dream worlds. Plus, Tom Waits channels the devil, supermodel Lily Cole plays a damsel in distress, and Christopher Plummer transforms into the 1,000-year-old title character. Intriguing is a gross understatement.
Thirst by Park Chan-Wook. The director of Oldboy is back with a thriller about a religious man who turns into a vampire! That’s all you need. Oh, and this trailer.
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