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

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Yesssss

Simon H., Saturday, 25 May 2019 18:20 (three months ago) link

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

Simon H., Saturday, 25 May 2019 18:21 (three months ago) link

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

zama roma ding dong (Eric H.), Saturday, 25 May 2019 18:51 (three months ago) link

it does seem like it

Dan S, Saturday, 25 May 2019 19:01 (three months ago) link

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.

Carly Jae Vespen (Capitaine Jay Vee), Saturday, 25 May 2019 21:32 (three months ago) link

lol

Dan S, Saturday, 25 May 2019 21:48 (three months ago) link

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

Dan S, Saturday, 25 May 2019 23:26 (three months ago) link

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)

Dan S, Saturday, 25 May 2019 23:41 (three months ago) link

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

Dan S, Saturday, 25 May 2019 23:52 (three months ago) link

really glad to read that Netflix acquired Diop's Atlantique

Dan S, Sunday, 26 May 2019 00:02 (three months ago) link

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

Dan S, Sunday, 26 May 2019 00:54 (three months ago) link

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

Simon H., Sunday, 26 May 2019 00:59 (three months ago) link

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

Dan S, Sunday, 26 May 2019 01:03 (three months ago) link

hypnosis and overload

Dan S, Sunday, 26 May 2019 01:08 (three months ago) link

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

Dan S, Sunday, 26 May 2019 01:11 (three months ago) link

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."

Dan S, Sunday, 26 May 2019 02:40 (three months ago) link

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

Frederik B, Monday, 27 May 2019 08:54 (three months ago) link


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