Who will win the Palme at Cannes? [2019 edition]

Dardennes get director prize, Bacurau and Les Miserables share jury prize.

Tarantino or Bong for the Palme?

BONG

Yesssss

Diop got the Grand Prix so my vote wasn't totally off!

Oh the whole, at least based on the critics, this seems like a really good set of winners overall?

it does seem like it

I liked the first "Mektoub..." quite a lot. Felt it worked fine as a self contained film. Think I'll be p(ass)ing on this one, though.

lol

It’s really been an amazing couple of decades for South Korean films

Peppermint Candy (Lee, 1999), Chunhyang, (Im, 2000), Oasis (Lee, 2002), Painted Fire (Im, 2002), Oldboy (Park, 2003), The Bow (Kim, 2005), Tale of Cinema (Hong, 2005), Crying Fist (Ryoo, 2005), The Host (Bong, 2006), Woman on the Beach (Hong, 2006), Secret Sunshine (Lee, 2007), Breath (Kim, 2007), Night and Day (Hong, 2008), Mother (Bong, 2009), Thirst (Park, 2009), Poetry (Lee, 2010), Hahaha (Hong, 2010), The Day He Arrives (Hong, 2011), Arirang (Kim, 2011), Snowpiercer (Bong, 2013), Right Now, Wrong Then (Hong, 2015) The Handmaiden (Park, 2016), On the Beach at Night Alone (Hong, 2017), Okja (Bong, 2017), The Day After (Hong, 2017), Claire’s Camera (Hong, 2018), Burning (Lee, 2018), Parasite (Bong, 2019)

haven't seen all of them, my favorites are Burning, Poetry, Secret Sunshine, Right Now Wrong Then, On the Beach at Night Alone, Claire's Camera. Oldboy and The Handmaiden had some amazing scenes

really glad to read that Netflix acquired Diop's Atlantique

Haven’t seen the first part of Mektoub yet, it hasn’t ever been available in the US as far as I know

Nope, but I hear Brazzers is picking up the North American distro on Intermezzo

lol

Is it possible that as the intermezzo in a trilogy of films from a director who is interested in exploring depictions of sexual expression the second part is meant to represent a kind of musical sustain

hypnosis and overload

I do wish that a director like this would turn his gaze on male sexuality

I liked what Eric Kohn had to say as a wrap-up: "the narrative of this year’s Cannes goes back to the beginning. Jim Jarmusch’s “The Dead Don’t Die” opened the festival to lukewarm reviews, but the master of deadpan’s dark zombie comedy is nothing if not a pointed critique of an exploitative system. The undead in Jarmusch’s kooky ensemble are drawn to products that they obsessed over in their lives — wifi, Xanax, coffee, you name it — and it doesn’t take much to see just how much contempt Jarmusch has for the way we’ve all become materialistic slaves.

It’s a blunt metaphor, explained in bitter terms in Tom Waits’ apocalyptic voiceover, but in retrospect it set the stage for the festival’s many depictions of global outrage against capitalist persecution. Wealth attracts and it takes away; in the process, it catalyzes dramatic narratives that must be told. Even bad movies can be portals to the fears, anxieties, and frustrations of the times in which they’re made; the 2019 Cannes Film Festival brought us some great ones."

On Korean film: It seems the story is pretty straight forward: The military only lost power in the early nineties, and censorship was only abolished in 1994, and there'd just been a lot of talent that was unleashed all of a sudden. Lee Chang-dong was a writer who only turned to film in his fourties, once it became a more free medium.

That said, this youtube-channel is pretty great for watching the treasures of early Korean cinema. I'd recommend The Aimless Bullet, The Empty Dream, Mandala and Sopyonje.
http://www.youtube.com/user/KoreanFilm

I'm surprised I see no year-end chatter about Little Joe generally and Emily Beecham in particular.

Have it premiered anywhere? I really hope to see it later this month.

I've only seen five of these so far, sigh. Dead Don't Die just came on VOD here.

Atlantique/Atlantics is on Netflix.

The only chatter I've heard about the Hausner is about ti being not v good

I don't know! https://www.criterion.com/current/posts/6374-jessica-hausner-s-little-joe

Ben Whishaw makes everything that he is in bad, imo.

I like him fine. He helps this film's drollness.

he swivels his eyes from side to side like an eagle-eyes action man which is apparently how he has decided to do emotion/anxiety but he does it all the time.

Watched "Atlantique" last night on Netflix; my pops has a ridiculous-sized HD TV so I've been taking advantage and binging on good stuff. For a first timer Diop hit this one waaay out the ballpark. A great film.

Yeah, it's my favourite from competition so far.

The Traitor is unexpectedly rigorous and tough.

Anyone watch Young Ahmed? It's on Amazon Prime (for a fee).