Nanni Moretti will be President of the Jury of the 65th Festival de Cannes to be held from May 16 to 27, 2012.

Italian Director Nanni Moretti

Accepting the invitation, the Italian actor and director said: “This is a real joy, an honour and a tremendous responsibility to preside over the jury of the most prestigious festival of cinematography in the world, a festival that is held in a country where film has always been treated with interest and respect.
As a director, I was always very moved when my films were presented at the Festival de Cannes. I also have very happy memories of my experience as a jury member during the fiftieth anniversary season, and of the attentiveness and passion that went into the jury’s viewing and discussion of all the films.
As a spectator, fortunately I still have the same curiosity that I had in my youth and so it is a great privilege for me to embark on this voyage into the world of contemporary international film.”

Nanni Moretti  has presented six films at the Festival de Cannes, including last year’s highly praised Habemus Papam(We Have a Pope).

To read more on Moretti’s films credits: www.festival-cannes.fr/en/article/58800.html

(Variety October 22) Thierry Fremaux isn’t going anywhere. But if the man who has steered the Cannes Film Festival for the past decade were to step down tomorrow, at least two things are certain: He’d be going out on a high note, and he’d have plenty to keep him busy.

Festival Director - Fremaux

At 51, the Lyon native continues to head his hometown’s Institut Lumiere (alongside helmer Bertrand Tavernier), a film museum located in the birthplace of the cinema. In that capacity, he just wrapped a popular second edition of his Festival Lumiere, a cinephile buffet devoted to classics and retro-spectives — as well as an implicit retort to those who questioned his decision to stay in Lyon when he took the Cannes reins in 2001.

These days, few would dispute Fremaux’s ability to multitask. (He shows up for his sit-down with Variety on his Trek bicycle, and admits he often negotiates film deals by phone while riding through the streets of Lyon and Paris.) Similarly, few would dispute his talent for making unpopular choices that pay off down the line.

Since his first day as artistic director at the grande dame of international cinema events, Fremaux has been conscious of his place as a leading force in the ongoing evolution of film festivals as a species. He’s fulfilled that role by embracing new technologies while remaining an advocate for the bigscreen experience, welcoming genre fare as well as traditional art cinema and generally refusing to settle on any simple definition of a festival film.

Fremaux's Traditional Red Carpet Welcome.

As he prepares to set the table for Cannes’ 65th anniversary in 2012, he’s still basking in warm notices for his most recent selection — a program that seemed emblematic of his largely acclaimed, sometimes controversial tenure, while effectively realizing almost everything he set out to accomplish 10 years ago.

“In a way, last year was my first real year,” Fremaux tells Variety. “Over the last five years I’ve had more freedom, but last year I had the most, the best freedom I could have had.”

Largely absent was the tension between old and new that has occasionally dogged his selection: Here was a festival boasting career-highlight work from heavyweight auteurs like Aki Kaurismaki and Nuri Bilge Ceylan, programmed alongside down-and-dirty genre fare like Nicolas Winding Refn’s “Drive.” Here, too, was a festival reasserting its ability to command media attention like no other, serving up its juiciest, ugliest scandale in years courtesy of Lars von Trier.

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Article written by Justin Chang

The golden ticket "Cannes Closing Ceremony"

If someone were to ask me what experience or knowledge I garnered from this year’s festival de Cannes based purely on the films I saw…my answer would be to choose wisely. I saw 15 films perhaps a record for me considering that I had two or three meetings a day while networking at several receptions for the first 6 days of the festival. Looking back at some of the images it would be best to summarize by saying life can be very difficult and the choices we make can ultimately affect a greater community that we share. I saw this particular theme played out in films like – We Need To Talk About Kevin – The Boy with The Bike, Once Upon a Time in Anatolia & Drive.

We Need To Talk about Kevin. Eva (Tilda Swinton) puts her ambitions and career aside to give birth to Kevin. The relationship between mother and son is difficult from the very first years. When Kevin is 15, he does something irrational and unforgiveable in the eyes of the entire community. Eva grapples with her own feelings of grief and responsibility. Did she ever love her son? And how much of what Kevin did was her fault? Based on the Winner of the Orange Prize for Fiction.
 

The Boy with Bike- Le Gamin au Vélo -Le gamin au véloexplores familiar territory, with a young boy, Cyril (Thomas Doret) who’s abandoned by his father and left in the responsibility of unqualified childcare provider Samantha (Cécile De France).

 Tied with  Once Upon A Time in Anatolia for Grand Prix.

 Once Upon A Time in Anatolia – A group of men are driving through the country, looking for a corpse after the murderer has confessed the crime. They can’t find the body and while searching, they engage in what appears to be random chatter. Chatter that gets to heart of many stories sectioned off by brilliantly written characters by dir Nuri  Cyelan – CSI in Anatolia/Turkey.

 Tied with Le Gamin au Vélo for Grand Prix

Drive – The film stars Ryan Gosling as an emotionless wheelman who lives to drive, movie stunts by day and he commits robberies by night. He makes a rare stab at human connection with his fetching neighbor Carey Mulligan and her son.

Choices – we struggle with them every day from the simple ones like what to wear to most difficult…should I leave this job, does he/she love me enough for me to stay with them. Weighing each choice is a science – give too little thoughts and you may not like the results. Characters in the films mentioned above make some choices that were ultimately shocking and it evidently tested their inner strength. However, this particular theme is far from what I’ve experienced in Cannes in the last couple of years.  For example In 2009 I felt that I could not watch any more sex/nudity and perversion and in 2010 I felt I wasn’t sure what I was watching until the film Biutiful was screened. If you haven’t seen it I recommend that you get the DVD. It’s worth the watch.

Actor Kristen Dunst after the screening of Melanchioila

So why the change – when did our filmmakers began this philosophical journey by showing us our action upon the world?  I would go as far and say that some of the Auteurs were taking a closer look at themselves and the world we live in. The daily images that we tend to see and read have become clear in its message – the world we live in is evil. So evil in fact that there was a rapture on its way while I sat in a theatre unaware.  Well we all know that it didn’t happen – but from the insidious headlines on the evening news for days leading up to May 21…one would think it was the end.  There was no talk of the rapture in Cannes – we were we oblivious – only business as usual. But what is this fascination that we have with our soul and its redemption? Can it be as simple as Kristen Dunst explained in Lars Von Trier’s film Melanchioila. Her character is quoted as saying ‘we are evil and we are alone, I know this to be true” as the world comes to its ultimate demise at the end of the film. Thankfully the audience showed Lars some love for his artistic ability but when he begins to speak - someone please mute his microphone. But even still what was said is in reference to the world and the evil that we barely survived WWII.  So what about some of the good things in this world – who’s filming this and who’s telling those stories or are we buying into the coined phrase – its not hard hitting enough for regular viewers.

Straight after seeing the film Melcanchiolia I met a young lady Maria – only 17 yrs old but she had the foresight, knowledge and passion of someone much older. We met in a bar – across from the Cannes train station. She wasn’t drinking any alcohol. She was there to participle in the Karaoke night held by Creative Minds (Film Market Access’ partner with Creative Minds for the Toronto Program). Her passion was infectious and her ideas where beyond her scope but I wondered does this means that she cannot accomplish some or even a little of what she speaks of – hopefully setting the world on a better path. She started her own organization. She presented me with a card. The organization helps youths in under privilege communities to gain access to mentorship and better education.  She also visits colleges to speak to girls about taking pride in themselves by rejecting terms such as bitches and hoes, So what she doing in Cannes? She would be best suited for a humanitarian conference I figured. But she explains to me that she love documenting and the idea to make documentaries also narratives on the core values that she has is an asset. She continues to say that each film will teach and could go further than her community. I thought this was very admirable and I wonder if she was inspired in America and what influences these films at Cannes had presented her. The mirror was held up to our faces at many screenings. Were we all looking? Did we like what we see? Sometime we don’t want to see as our own reflection but what should we do about it?

I can’t help to think that this years’ Cannes I was quickly reminded that we probable are living in an evil society although thankfully we hold on to the hope that we can do better and we will try to do better. However, there is always that something that distracts us and that’s clearly the choices we make to help ourselves, family and friends. We are fallible and that’s what makes for a great story interpreted by great autuers who hope that they can continue to entertained and educated us at the same time…

Merci Cannes 2011… Rendez-vous l’année prochaine

Your comments are always greatly appreciated.

I decided to take a break and slow it down on Day 5 of the festival. After having a great time with my friends from South Africa I felt I needed some down time. Thankfully I had no appointments and no special receptions to attend.  I decided to take in a film later in the day entitled “Martha Marcy May Marlene” an indie film that took Sundance by surprise. After its Sundance screening Variety wrote that it was a clear indication of new talents to the industry with director Sean Durkin and promising new star Elizabeth Olsen…younger sister to the Olsen twins. The film was scooped up by Fox Searchlight – with the hopes that it would follow in the success of “Precious” and “Blue Valentine” both of which were invited to the Festival de Cannes 09 and 2010 respectably. Not having the opportunity to see either film in Cannes I felt it was time to see this film before it rode on the success of a Sundance/Cannes/Toronto circuit. I began to wonder if this is will be a trend?

Cast of

I arrive about an hour and a half to the Debussy Theatre – where all films selected for Un Certain Regard are been screened – well prepared to wait in the cue with my iTouch and a warm jacket. I’ve learnt over the years to bring a light jacket because the weather can be a bit unpredictable at times due to the proximity of the ocean and the cinema. Once inside I began to realize that the theatre was mostly filled with a younger audience and they were Americans. Because I was listening to my iTouch it was an observation that had escaped me while I was waiting in line. The film is about a young woman who is haunted by painful memories and increase paranoia. She is damaged woman struggling to re-assimilate with her family after fleeing a farm where an abusive cult thrives. I felt it was a suspenseful film that reflects on the insidious way cults operate and the psychological vulnerabilities on which they prey.  This is Sean Durkin’s first feature film  and it starts with a few subtle scenes in which we learn that something is off-key at the isolated farm, where women cook and serve men first, then eat separately after the men have eaten before bedding down in a dorm-like fashion. A very strong tone was set at the beginning of the film that made a clear indication that the director had unintentionally isolated the audience.  In preparing Elizabeth who I felt did a great job in her role as a psychological damaged woman, the director establish a barrier that kept me disconnected from the emotional journey. I can understand why Sean won the best director prize at Sundance this is an essential Sundance film but I did not feel it was Cannes worthy. After the film a group of us decided to grab a bite to eat and then take in the night life of the Grand Hotel – one of the hot spots during the festival. When we arrive to the Grand Hotel we saw a sea of professional drinking, smoking and having a great time in the makeshift garden lounge leading up to the hotel bar which onlyhas a capacity of 75. We decided the wait would be too long and left to join the indie group at the Petit Majestic which is located behind the Grand Hotel.  A very different crowd - they were the kind of people you would find at Sundance. Perhaps I will have the opportunity to speak the next Sean Durkin over a pint of  cheap beer. Note: I apologize for not being able to post pictures into the blog. There are some issues with my laptop. Pictures will be inserted at a later date or check out the pictures on Facebook in the album entitled Cannes 2011.

I knew that I would be busy but not quite so busy that my nights ends at roughly 3am and my days begin at 10am. Of course during that down period I need to have a late supper, take care of FMA blog, updates on Facebook/ Twitter, hygiene and of course sleep. But this is in no way a complaint. I couldn’t be happier being here at the fest. To be honest I have been feeling bad because I have not been able to keep up with my writing. So to catch up to the festival that is now on Day 7 I will need either write shorter entries or blend them together. Hmmm…something think about.

Day 4 in Cannes was filled with meeting and no films. I started the day with a meeting at Abu Dhabi Film Commission where I was told unfortunately that my meeting needed to be rescheduling due to a conflict. No problem there – a quick reschedule and I was onto my next appointment at the Greek Pavilion. I had an excellent meeting with the Greeks and at the end was offer an invite to their reception.  Let’s hope they serve some kabobs

Later that afternoon I was to attend the Canada/India reception –upon my arrival there was a down pour of rain from out of the blue. I should have realized that this was a foreshadowing to the vibe of the event.  While chatting to a producer I noticed to my disappointment that they decided serve beef skewers. I find that particular tasteless seeing as we are the host to India and cows are quite sacred. But it goes further than that.  The young producer that has been in my company since day 1 of the fest…(I choose  to leave him nameless at this point) found himself in a discussion at the door of the Canada Pavilion where he was completely dismissed as “not a senior producer “ and was turn away from the event until I spoke up on his behalf. Please keep in mind that this event is paid for through Canadian tax dollars. But in fairness (Canada Pavilion) said they wanted to showcase senior producers so that delegates from India would feel they were with their peers on such topics as co-production.  Hmmm…so I asked when does a short filmmaker who has produced his short film and gets accepted into Cannes Short Film Corner – travels miles to be in Cannes spent their own funds… gets a break to network with senior producers so they can learn? Good question – but no one could answer so he was admitted.  

Later that evening my spirit was lifted as I dance the night away on the dance floor of the South African party. The first event in Cannes that had a full buffet and an excellent dessert bar including a chocolate fountains and array of creamy ice cream flavours. In the middle of the event we were treated by very entertaining fireworks display. Even though Kane West was hosting an event just down the Cossette from us, his party I have to admit had all the hype surrounding it but no substance. It was siad that they a VIP room and a VIP-VIP room. I much prefer the real people of South Africa.  Watching fireworks on the beach just made those unfortunate incidents in the day melt away like ice cream on a hot night.