Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Watch the full Cannes press conference for Paul Verhoeven‘s Elle, one of our favorites of the festival:

Speaking of Isabelle Huppert, she confirms to The Guardian she’ll soon be shooting Michael Haneke‘s Happy End:

Next year, Huppert will be seen in another film with the austere Austrian maestro Haneke. “I haven’t started it yet. But you can imagine what a Michael Haneke film called Happy Ending will be like. You can imagine there will be a certain irony, a certain…” – she hesitates playfully, choosing her words – “clear-sightedness. For me, the title says everything about how lucidly Haneke sees the world.” Apparently it’s about immigration, I hazard. “Apparently. That’s not all there is to it. We’ll see.”

Watch a reflection of life and death through the films of Bergman, Godard, Wenders, Tarkovsky, Truffaut, and more, accompanied by Alberto Caeiro‘s poem “If I Die Young”:

On Bob Dylan‘s 75th birthday, BFI‘s Craig Williams looks at his relationship with cinema:

In William Shakespeare’s As You Like It, the traveller Jacques famously compares life to a play and sets out the seven stages of a man’s life: “They have their exits and entrances / And one man in his time plays many parts.” Life is also a play in Todd Haynes’ I’m Not There (2007), and the persona of its chameleonic subject is similarly divided into six distinct roles: poet, prophet, outlaw, fake, rock‘n’roll martyr, and star of electricity.

Watch the full Cannes press conference for Asghar Farhadi‘s The Salesman (our review):

Jonathan Demme discusses Kaili Blues at Grasshopper Film (and see director Bi Gan‘s 10 favorite films of the last 10 years, as well as our interview):

What if a brazen first-time filmmaker decided — beyond audaciously — that they didn’t want to cut from one location to another (all quite distant from each other) for about oh, half their new movie, and instead chose to dare to go with one super-duper-transcendental half-hour plus single take? Answer: you wind up with Bi Gan’s absolutely extraordinary Kaili Blues.

See more Dailies.

No more articles