Following yesterday’s unveiling of the official 66th Cannes Film Festival line-up, there was one heavily rumored film missing from the slate. However, an update this morning reveals that The Congress, director Ari Folman‘s follow-up to the acclaimed Waltz with Bashir, will finally have its premiere as the opening film of the Cannes Directors’ Fortnight sidebar on May 16th.
A mix of live-action and animated segments — running 70 and 50 minutes, respectively — we follow Robin Wright, playing a version of herself who is depicted as “an aging actress who has sold Hollywood digital rights to her younger likeness.” The animated segments take place 20 years in the future and the work is an adaptation of Stanisław Lem‘s The Futurological Congress, with Paul Giamatti, Danny Huston and Harvey Keitel also starring.
We’ve also got another update from the festival, as the teaser trailer for François Ozon‘s in competition Jeune & Jolie (aka Young and Beautiful) has landed. Not much is known about the film which stars Marine Vacth and Charlotte Rampling and follows the former actress through “four seasons and four songs,” but one can begin to get a hint with the non-subtitled teaser below.
Cannes 2013 kicks off on May 15th.
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
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