The Cannes Film Festival starts tomorrow. Just like last year, I’m back to bore you with my excitement. Tellingly, I’ve only seen five of the fifteen movies I wrote about last time, mostly due to limited distribution. Here’s hoping that more of this year’s slate comes stateside, and sooner.
Here are the movies I’m most excited about, in no particular order:
Behind the Candelabra – Steven Soderbergh claims that this will be his last feature film. He’s already lined up several projects, including a novella on Twitter (seriously) and a twelve-hour adaptation of a 1960 John Barth novel. Considering his wildly prolific and varied filmography, following the neo-noir Side Effects with this ultra-flamboyant biopic should be no surprise.
Inside Llewyn Davis – As far as I can tell, the three years between this and True Grit mark the longest hiatus in the Coen brothers’ career. This loose adaptation of The Mayor of MacDougal Street looks pretty fan-pleasing.
The Past – Asghar Farhadi’s sixth film is his first Cannes selection after 2011’s brilliant breakout A Separation, which picked up four awards at the Berlin Film Festival and went on to win the Oscar and the Golden Globe for Best Foreign Language Film. It’s also his first film made outside of his native Iran, shot in France and starring Bérénice Bejo (The Artist) and Tahar Rahim (A Prophet).
Only God Forgives – This re-teaming of Nicolas Winding Refn and Ryan Gosling looks like it has some similarities with their previous collaboration, the stylish and ultra-violent Drive. Throw in a ruthless Kristin Scott Thomas and a Thai crime ring and it might just be an improvement.
The Immigrant – Speaking of re-teamings, this is director James Gray’s fourth collaboration with Joaquin Phoenix after The Yards, We Own the Night, and Two Lovers. I actually haven’t seen any of those, but adding Marion Cotillard and Jeremy Renner to this cast is enough to get me in a seat.
[no trailer available]
As I Lay Dying – Yes, this is that James Franco who has adapted Faulkner and brought him to the big screen, but I can’t resist.