You Cannes Always Get What You Want

By Andreas

Now that Cannes 2011 has wrapped, here’s a short list of my most-anticipated films from the festival. With any luck, most or all of them will be headed to an arthouse theater near me soon!

  • Woody Allen’s Midnight in Paris. The lackluster trailer and Woody’s recent track record weren’t exactly getting my hopes up, but once I learned that Kathy Bates and Scott Pilgrim‘s Alison Pill play Gertrude Stein and Zelda Fitzgerald respectively, I knew I’d have to see it. Will Owen Wilson make a suitable Woody surrogate? Will it be so cutely erudite that I’ll throw up? I can’t wait to find out!
  • Lynne Ramsay’s We Need to Talk About Kevin. I already wrote about how intensely I want to see this, and that intensity continues to grow. An Oscar-caliber Tilda Swinton performance! John C. Reilly! Stream-of-consciousness narrative! YEAH.
  • Michel Hazanavicius’s The Artist. I’m excited by both The Artist‘s plot—it’s a silent comedy/melodrama about Hollywood’s transition to sound—and its loose resemblance to Guy Maddin’s movies. It sounds like the best kind of cinephile junk food.
  • Sean Durkin’s Martha Marcy May Marlene. I can’t wait to see Durkin’s debut feature, a harrowing cult-themed drama (which, like Midnight in Paris, played out of the main competition). The fact that it co-stars John Hawkes from Winter’s Bone is icing on the cake.
  • Terence Malick’s The Tree of Life. Although sometimes put off by his ponderousness, I adore Malick’s childlike wonderment at the world. (And just try not to be blown away by the house-burning sequence in Badlands.) I’m a sucker for cosmic spectacle, so Malick’s long-awaited Palme d’Or-winner might just do the trick for me.
  • Lars Von Trier’s Melancholia. Speaking of cosmic spectacle, the trailer for Melancholia really impressed me, and the casting of John Hurt and Charlotte Rampling as an old married couple would get my ass in the theater to see Transformers 3. When mixed with Von Trier and the end of the world? Ohhh yes.
  • Pedro Almodóvar’s The Skin I Live In. I’m just crazy about face transplant movies like Face Behind the Mask, Eyes Without a Face, and The Face of Another. If I can get that with Almodóvar’s uniquely dark, sensual sensibility, I will be a happy moviegoer.
  • Nicholas Winding Refn’s Drive. This is tied with Kevin, Melancholia, and MMMM for “most most-anticipated.” Ryan Gosling in an existential action movie? Yes please, and thank you.

What Cannes-tastic new movies are you excited to see?

4 Comments

Filed under Cinema

4 responses to “You Cannes Always Get What You Want

  1. I feel like Tree of Life and Melancholia should be a back-to-back call-and-response, you know? Based off subject matter and reviews thus far, anyway. If they get cult-y enough, someone might put them both in IMAX. Which would make my life.

  2. Much as I’m drooling at the thought of Pedro riffing on Eyes Without a Face, part of me absolutely dreads the transgender themes of the movie. I mean, I’ll be there when it opens near me. First night, probably. Pedro has earned that much. But I’m apprehensive. Maybe that’s just me.

    • That’s totally understandable—and in most hands, I would probably be very suspicious of directors dealing with trans-related themes. I’m pretty trusting of Almodóvar, though, because he’s had amazing, well-rounded trans characters in his films in the past (especially All About My Mother). I have no idea what The Skin I Live In will hold in that regard, though.

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