I did not want to do this, but these last few days have revitalized the potential for a higher quality Cannes competition than previously anticipated.
If David Lynch does indeed have a new FEATURE-LENGTH movie premiering at Cannes, does that mean it’s in competition?
If Claire Denis is rushing to get “The Stars at Noon” submitted for Cannes, will she finally crack the official competition after a 34 year absence?
Is the new Jean-Luc Godard ready to be unveiled? We know it was already “shot,” but his post-production process is always as lengthy as the actual shoot. No matter, there have whispers these last few days of a possible new Godard at Cannes.
Fremaux claims he hasn’t screened any Russian films yet, but Kirill Serebrennikov has admitted that his “Tchaikovsky’s Wife” was submitted. We’re also hearing that Alexander Sokurov has sent over his new film to the Cannes selection committee.
Robin Campillo’s “White People” will not be ready on time. It is now aiming for a 2023 release. If you remember, Campillo’s 2017 competition entry “BPM” almost won the Palme d’Or, but got blocked out by jury member … Will Smith.
The one question I keep getting asked, aside from Lynch, is the one film I have yet to crack, Yorgos Lanthimos’ “Poor Things.” The film is READY, but I do wonder if they keep it for Venice. “Killing of a Sacred Deer” got shellacked by critics at Cannes 2017 and “The Favourite” was an absolute triumph at Venice 2018.
What we are left with is a 75th edition of the Cannes Film Festival that could premiere new works by the likes of Kore-eda, Ostlund, Park, Serebnikkov, Gray, Cronenberg, Lynch, Reichardt, Hogg, Dardenne, Mungiu, Hansen-Love, Desplechin, Miller, Denis, Godard, Luhrmann, and many more.
Thursday will feel like Christmas morning.
Still no distributor for "Bucking Fastard," "Alpha Gang," "The Last Photograph," "Closing Night," and "The Life and Deaths of Wilson Shedd." The issue seems to be quality more than a lack of willingness to buy.