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    Home » Cannes Film Fest Lineup Includes Work From Wes Anderson, Wim Wenders, Ken Loach

    Cannes Film Fest Lineup Includes Work From Wes Anderson, Wim Wenders, Ken Loach

    By SHOOTThursday, April 13, 2023Updated:Tuesday, May 14, 2024No Comments2666 Views
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    Cannes film festival president Iris Knobloch smiles during a press conference to announce the International Cannes film festival line up for the upcoming 76th edition of the Cannes Film Festival, Thursday, April 13, 2023 in Paris. The International Cannes Film festival will run from May 16 to May 27, 2023. (AP Photo/Michel Euler)

    By Jake Coyle, Film Writer

    PARIS (AP) --

    New films by Wes Anderson, Alice Rohrwacher, Hirokazu Kore-eda, Todd Haynes and Wim Wenders will compete for the Cannes Film Festival's coveted top honor, the Palme d'Or, as will a record number of films directed by women.

    Cannes artistic director Thierry Frémaux and president Iris Knobloch, who took over the post last year from Pierre Lescure, announced a lineup heavy on big-name international auteurs, along with some new faces, in a press conference Thursday in Paris.

    Among the 19 films selected for Cannes' prestigious competition slate are Anderson's sci-fi homage "Asteroid City," Wenders' "Perfect Days"; Kor-eda's "Monster"; Alice Rohrwacher's "La Chimera"; and Haynes' "May December," a romance with Natalie Portman and Julianne Moore. Ken Loach, long a Cannes regular, will return with "The Old Oak." Jonathan Glazer will premiere his first feature since 2013's "Under the Skin" with his Martin Amis adaptation "Zone of Interest."

    After a scaled-down 2021 event and a comeback festival in 2022, this year's Cannes finds the festival back on level ground and its organizers triumphant that their mission — celebrating the best in world cinema as an inherently theatrical experience — has persevered.

    "The films are back in theaters and the public is back in theaters," said Knobloch. "The moviemakers, the artists, the professionals are all in agreement. Nothing can replace the cultural event represented by a release in a theater for a movie."

    Joining Rohrwacher, the Italian director of "Happy as Lazzaro," in competition are five more female directors: France's Catherine Breillat with "Last Summer"; Austria's Jessica Hausner with "Club Zero"; France's Justine Triet's "Anatomy of a Fall"; Senegalese-French director Ramata-Toulaye Sy with "Banel & Adama"; and Tunisia's Kaouther Ben Hania with the documentary "Olfa's Daughters."

    Cannes has often come under criticism for selecting few films by women for its prestigious competition lineup. Only two female filmmakers have ever won the Palme d'Or: Jane Campion in 1993 for "The Piano" and Julia Ducournau in 2021 for "Titane." While six out of 19 films is a new high, it still falls below the parity that some have sought.

    Several of Cannes' splashiest premieres had already been announced. "Indiana Jones and the Dial of Destiny" will debut in Cannes, along with a special tribute to Harrison Ford, as will Martin Scorsese's "Killers of the Flower Moon," his big-budget adaptation for Apple of David Grann's non-fiction bestseller. Fremaux said he urged Scorsese to screen "Killers of the Flower Moon" in competition at the festival, but it isn't currently scheduled to compete for the Palme.

    On Tuesday, Cannes said that the Pedro Almodóvar short "Strange Way of Life," with Pedro Pascal and Ethan Hawke, will also premiere at the festival.

    Cannes gets underway May 16 with the opening-night selection "Jeanne du Barry," starring Johnny Depp as King Louis XV. The film, directed by and co-starring the French actress and filmmaker Maïwenn, has been billed as Depp's comeback film following his explosive trial last year with Amber Heard, his ex-wife. The festival runs through May 27.

    The much-anticipated HBO series "The Idol", from "Euphoria" creator Sam Levinson and starring the Weeknd and Lily-Rose Depp, will also debut in Cannes. Steve McQueen, the director of "12 Years a Slave" and the film anthology "Small Axe," will present his "Occupied City," a documentary about Amsterdam under Nazi occupation during World War II.

    The jury that will decide the Palme d'Or will this year be led by the Swedish filmmaker Ruben Östlund, a two-time Palme winner. After winning Cannes top honor for 2017's "The Square," Östlund won last year for the social satire "Triangle of Sadness."

    Cannes is coming off a movie year that has reinforced the French festival's position as arguably the premiere international launching pad for film. Three of this year's best-picture nominees at the Oscars premiered in Cannes: "Top Gun: Maverick," "Elvis" and "Triangle of Sadness."

    Here’s the lineup:

    IN COMPETITION
     

    • JEANNE DU BARRY by MAÏWENN – Opening Film Out of Competition
    • CLUB ZERO by Jessica HAUSNER
    • THE ZONE OF INTEREST by Jonathan GLAZER
    • FALLEN LEAVES by Aki KAURISMAKI
    • LES FILLES D’OLFA (FOUR DAUGHTERS) by Kaouther BEN HANIA
    • ASTEROID CITY by Wes ANDERSON
    • ANATOMIE D’UNE CHUTE by Justine TRIET
    • MONSTER by KORE-EDA Hirokazu
    • IL SOL DELL’ AVVENIRE by Nanni MORETTI
    • L’ÉTÉ DERNIER by Catherine BREILLAT
    • KURU OTLAR USTUNE (ABOUT DRY GRASSES) by Nuri Bilge CEYLAN
    • LA CHIMERA by Alice ROHRWACHER
    • LA PASSION DE DODIN BOUFFANT by TRAN Anh Hun
    • RAPITO by Marco BELLOCCHIO
    • MAY DECEMBER by Todd HAYNES
    • JEUNESSE by WANG Bing
    • THE OLD OAK by Ken LOACH
    • BANEL E ADAMA by Ramata-Toulaye SY  |  1st film
    • PERFECT DAYS by Wim WENDERS
    • FIREBRAND by Karim AÏNOUZ

     

    UN CERTAIN REGARD
     

    • LE RÈGNE ANIMAL by Thomas CAILLEY – Opening Film
    • LOS DELINCUENTES (THE DELINQUENTS) by Rodrigo MORENO
    • HOW TO HAVE SEX by Molly MANNING WALKER  |  1st film
    • GODBYE JULIA by Mohamed KORDOFANI  |  1st film
    • KADIB ABYAD (THE MOTHER OF ALL LIES) by Asmae EL MOUDIR
    • SIMPLE COMME SYLVAIN by Monia CHOKRI
    • CROWRÃ (THE BURITI FLOWER) by João SALAVIZA, Renée NADER MESSORA
    • LOS COLONOS (THE SETTLERS) by Felipe GÁLVEZ  |  1st film
    • OMEN by Baloji TSHIANI  |  1st film
    • THE BREAKING ICE by Anthony CHEN
    • ROSALIE by Stéphanie DI GIUSTO
    • THE NEW BOY by Warwick THORNTON
    • IF ONLY I COULD HIBERNATE by Zoljargal PUREVDASH  |  1st film
    • HOPELESS by KIM Chang-hoon  |  1st film
    • TERRESTRIAL VERSES by Ali ASGARI, Alireza KHATAMI
    • RIEN À PERDRE by Delphine DELOGET  |  1st film
    • LES MEUTES by Kamal LAZRAQ  |  1st film

     

    OUT OF COMPETITION
     

    • INDIANA JONES AND THE DIAL OF DESTINY by James MANGOLD
    • COBWEB by KIM Jee-woon
    • THE IDOL by Sam LEVINSON
    • KILLERS OF THE FLOWER MOON by Martin SCORSESE

     

    MIDNIGHT SCREENINGS
     

    • KENNEDY by Anurag KASHYAP
    • OMAR LA FRAISE by Elias BELKEDDAR
    • ACIDE by Just PHILIPPOT

     

    CANNES PREMIERE
     

    • KUBI by Takeshi KITANO
    • BONNARD, PIERRE ET MARTHE by Martin PROVOST
    • CERRAR LOS OJOS by Victor ERICE
    • LE TEMPS D’AIMER by Katell QUILLÉVÉRÉ

     

    SPECIAL SCREENINGS
     

    • MAN IN BLACK by WANG Bing
    • OCCUPIED CITY by Steve MCQUEEN
    • ANSELM (DAS RAUSCHEN DER ZEIT) by Wim WENDERS
    • RETRATOS FANTASMAS (PICTURES OF GHOSTS) by Kleber MENDONÇA FILHO
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    Category:News
    Tags:Cannes Film FestivalKen LoachWes AndersonWim Wenders



    How “Pee-wee as Himself” Documentary Came Together After Paul Reubens’ Death

    Friday, May 23, 2025

    Paul Reubens did not tell his director that he was dying.

    On July 31, 2023, the news of Reubens' death came as a shock to documentary filmmaker Matt Wolf, who had spent a year trying to convince him to make the ambitious two-part documentary "Pee-wee as Himself," now streaming on HBO Max, and over 40 hours interviewing him on camera.

    But in 2023, the project was in danger of falling apart: The two had been at an impasse for a while over the issue of creative control and they'd finally found a way forward. He had one last interview scheduled, set for the first week of August. Then the texts started coming in. Wolf sat there shaking.

    They'd spoken about everything — Reubens' childhood, his complicated relationship with fame, his ambitions, his commitment to his alter-ego Pee-wee Herman, his sexuality, his arrest — except the fact that he'd been battling cancer for the past six years. But after the initial shock, a renewed purpose set in.

    "I went to work the day after Paul died. I started to read the 1,500-page transcript of our interview through the night and was struck by the significance and meaning that came by understanding that he was privately contemplating mortality," Wolf said. "I was aware that this was an extraordinary situation that was part of the story of the film and that the stakes were the highest I had ever experienced."

    For the next year, Wolf would wake up and say to himself, "You cannot drop the ball. Rise to the occasion." It was, he said, "the most challenging and involved and emotional process of filmmaking that I've ever gone through and maybe that I'll ever go through again."

    The most resistant interview subject
    Reubens wanted to direct his own documentary. He'd always... Read More

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