|Palais des Festivals © FDC|
- Day 10 - Friday, May 24
From the USA, The Immigrant by James Gray.
His fifth feature and fourth time in the main competition.
1921. In search of a new start and the American dream, Ewa Cybulski and her sister Magda sail to New York from their native Poland. When they reach Ellis Island, doctors discover that Magda is ill, and the two women are separated. Ewa is released onto the mean streets of Manhattan while her sister is quarantined. Alone, with nowhere to turn and desperate to reunite with Magda, Ewa quickly falls prey to Bruno, a charming but wicked man who takes her in and forces her into prostitution. And then one day, she encounters Bruno’s cousin, the debonair magician Orlando. He sweeps Ewa off her feet and quickly becomes her only chance to escape the nightmare in which she finds herself.
From France and Germany, Michael Kohlhaas by Arnaud Des Pallières.
Making his Cannes competition debut with his fourth feature film.
In the sixteenth century, somewhere in the Cevennes, Michael Kohlhaas, a prosperous horse merchant, leads a comfortable and happy family life. Victim of an injustice, this righteous and honest man raises an army and plunders cities to restore his right.
- From Iran, Dast-Neveshtehaa Nemisoosand (Manuscripts Don't Burn) by Mohammad Rasoulof.
Winner of the Jury Prize and Best Director in Un Certain Regard in 2011 for Goodbye.
Khosrow and Morteza set out on a mission to kill someone. The assassination ought to be arranged as a suicide. At the last minute however, they are obliged to change their initial plans…
We're now entering the final weekend of the festival. Including today, there are only two more days of competition left.
Here's a recap of the tenth day of the 66th Cannes Film Festival (Festival de Cannes), which runs until Sunday May 26, 2013.
Screening In Competition today:
directed by James Gray
Quotes from the press conference:
"It's true, when one has to learn a different language, it helps to develop a character that's different from myself."Marion Cotillard on having to speak Polish in the role.
"When you talk to actors, sometimes you don't even have to watch them act. The minute you talk to them and get a sense of that intelligence, you know that they can be wonderful."James Gray on Marion Cotillard
"It’s a double-edged sword the director has contemplated in all his later-set classical works, but never quite as beautifully or broken-heartedly as he does here."Guy Lodge (In Contention)
"A self-conscious approximation of Hollywood’s Golden Age, and the result, while reasonably compelling, feels secondhand."Mike D'Angelo (The AV Club)
"Contained, restrained, thoughtful filmmaking that satisfies on nearly every level, except for the desire for a little chaos."Jessica Kiang (The Playlist)
"At times speaking in Polish, Cotillard makes the movie, creating a haunted figure."Todd McCarthy (The Hollywood Reporter)
"Though Gray offers a well-crafted package, especially on the visual front, there’s surprisingly little contemporary resonance in this immigration melodrama."Lee Marshall (Screen Daily)
"Recognizing the deep, haunted quality of Cotillard’s gaze, he features her eyes as the soul of his story, counting on their mournful quality to play to the back of the house."Peter Debruge (Variety)
directed by Arnaud des Pallières
"Works well in its action moments, in spite of failing to unite its audience around its principle, which does not always allow for any emotional identification with the character"Domenico La Porta (Cineuropa)
"Given the richness of the theme, helmer Pallieres seems more inspired by landscape than by history or any contemporary resemblances."Jay Weissberg (Variety)
"Part of the problem lies with des Pallières failing to make interesting use of Mikkelsen, who never does much more than use his steely gaze to play Kohlhaas as a Clint Eastwood avant la lettre."Jonathan Romney (Screen Daily)
"Excels in its gorgeous settings, impressive horse stunts and intricately lit widescreen cinematography (by Jeanne Lapoire, A Castle in Italy), but fails to build sufficiently interesting characters, and a dramatic enough arc, to carry it through a rather plodding two-hour running time."Jordan Mintzer (The Hollywood Reporter)
"A sombre and brilliantly-realised period revenge drama, armed with a lurking muscularity"John Bleasdale (CineVue)
Un Certain Regard Film
Dast-Neveshtehaa Nemisoosand (Manuscripts Don't Burn)
directed by Mohammad Rasoulof
"An unflinching portrait of state-sponsored evil, Manuscripts Don’t Burn feels like the work of an angry artist who has been jailed, censored and harassed too long. This time it’s personal."Stephen Dalton (The Hollywood Reporter)
"A brave, challenging picture that makes the viewer complicit in the action."Alissa Simon (Variety)
- 2013 Cannes Film Festival - Day 9 (Nebraska, Blue is the Warmest Colour, Norte the End of History, Nothing Bad Can Happen)
- 2013 Cannes Film Festival - Day 8 (Only God Forgives, Grigris, The Golden Cage, My Sweet Pepper Land)
- 2013 Cannes Film Festival - Day 7 (Behind the Candelabra, The Great Beauty, Sarah Prefers to Run, Bastards, Wakolda)
- 2013 Cannes Film Festival - Day 6 (Shield of Straw, A Castle in Italy, Omar, As I Lay Dying)
- 2013 Cannes Film Festival - Day 5 (Borgman, Inside Llewyn Davis, The Missing Picture, Death March)
- 2013 Cannes Film Festival - Day 4 (Jimmy P, Like Father Like Son, Grand Central, Bends)
- 2013 Cannes Film Festival - Day 3 (The Past, A Touch of Sin, Stranger by the Lake, Miele)
- 2013 Cannes Film Festival - Day 2 (Young & Beautiful, Heli, The Bling Ring)
- 2013 Cannes Film Festival - Day 1 (The Great Gatsby)
- 2013 Cannes Film Festival - Un Certain Regard Preview
- 2013 Cannes Film Festival - Official Selection Preview