The 63rd edition of the Cannes Film Festival wrapped up this evening in France with Apichatpong Weerasethakul‘s Uncle Boonmee Who Can Recall His Past Lives (pictured) taking the coveted Palme d’Or. Other winners include Xavier Beauvois‘s Of God and Men receiving the Grand Prix, Mathieu Amalric winning Best Director for Tournee, Juliette Binoche was awarded Best Actress for Certified Copy and in a tie Javier Bardem (Biutiful) and Elio Germano (La Nostra Vita) won Best Actor. See full list of winners below. Palme d’Or: Uncle Boonmee Who Can Recall His Past Lives directed by Apichatpong Weerasethakul Grand Prix (runner-up): Des […]
by Jason Guerrasio on May 23, 2010I ran into another New York film critic last night. I said that this doesn’t seem to be a very good Cannes. Her answer was, “No masterpieces so far.” The closest is, according to many journalists here, Mike Leigh’s Another Year. Not for me, however. It’s fine, filming a middle-class family (with working-class roots) against four distinct seasons. The problem is that Leigh’s renowned “rehearsal method,” in which actors develop their characters over time, before a script is written, backfired a bit. The usually dependable Leslie Manville channels Brenda Blethyn in Secrets & Lies, but overdoes the tics and drunken […]
by Howard Feinstein on May 17, 2010NATALIE PORTMAN AND JAVIER BARDEM IN MILOS FORMAN’S GOYA’S GHOSTS. COURTESY SAMUEL GOLDWYN FILMS. It is something of a tragic irony that after escaping the restrictions of Communist Czechoslovakia in 1968 — where he had made five films in five years — in the subsequent 40 years Milos Forman has worked in America, he has only made a further nine features. Taking Off (1971) was a transition between the looseness of his Czech films, such as the classic Loves of a Blonde (1965) and The Firemen’s Ball (1967), and the more conventional Hollywood style he would later adopt, and was […]
by Nick Dawson on Jul 20, 2007