Fan Bing Bing in a embroidered Christopher Bu gown at the Cannes Film Festival opening ceremonies and the premiere of Wes Anderson’s Moonrise Kingdom, May 16th
Her hair style is a symbol of the Tang dynasty’s noble women and her gown tells the stories of the Four Beauties of ancient China
(via partyintherok)
In Competition:
“Amour” (dir. Michael Haneke)
“The Angel’s Share” (dir. Ken Loach)
“Baad EL Mawkeaa (Apres La Bataille”) (dir. Yousry Nasrallah)
“Beyond The Hills” (dir. Cristian Mungiu)
“Cosmopolis” (dir. David Cronenberg)
“Holy Motors” (dir. Leos Carax)
“The Hunt” (dir. Thomas Vinterberg)
“In Another Country” (dir. Hong Sang-Soo)
“Im Nebels (Dans La Brume)” (dir. Sergei Loznitsa)
“Killing Them Softly” (dir. Andrew Dominik)
“Lawless” (dir. John Hillcoat)
“Like Someone In Love” (dir. Abbas Kiarostami)
“Moonrise Kingdom” (dir. Wes Anderson)
“Mud” (dir. Jeff Nichols)
“On The Road” (dir. Walter Salles)
“Paradies: Liebe” (dir. Ulrich Seidl)
“The Paperboy” (dir. Lee Daniels)
“Post Tenebras Lux” (dir. Carlos Reygadas)
“Reality” (dir. Matteo Garrone)
“Rust & Bone” (dir. Jacques Audiard)
“Taste Of Money” (dir. Im Sang-Soo)
“Vous N’Avez Encoure Rien Vu” (dir. Alain Resnais)
Opening Film:
“Moonrise Kingdom” (dir. Wes Anderson)
Closing Film:
“Therese D.” (dir. Claude Miller)
Un Certain Regard:
“Miss Lovely” (dir. Ashim Ahluwalia)
“La Playa” (dir. Juan Andres Arango)
“Les Chevaus De Dieu” (dir. Nabil Ayouch)
“Trois Mondes” (dir. Catheron Corsini)
“Antiviral” (dir. Brandon Cronenberg)
“7 Days In Havana” (dir. Benicio Del Toro, Laurent Cantet, Gaspar Noe etc)
“Le Grand Soir” (dir. Benoit Delepine & Gustave Kervern)
“Laurence Anyways” (dir. Xavier Dolan)
“Despues De Lucia” (dir. Michel Franco)
“Aimer A Perdre La Raison” (dir. Joachim Lafosse)
“Mystery” (dir. Lou Ye)
“Student” (dir. Darezhan Omirbayev)
“La Pirogue” (dir. Moussa Toure)
“Elefante Blanco” (dir. Pablo Trapero)
“Confession Of A Child Of The Century” (dir. Sylvie Verheyde)
“11.25: The Day He Chose His Own Fate” (dir. Koji Wakamatsu)
“Beasts Of The Southern Wild” (dir. Benh Zeitlin)
Out of Competition
“Une Journee Particuliere” (dir. Gilles Jacob and Samuel Faure)
“Madagascar 3: Europe’s Most Wanted” (dir. Eric Darnell, Tom McGrath)
“Dario Argento’s Dracula” (dir. Dario Argento)
“Io E Te” (dir. Bernardo Berolucci)
“Hemingway & Gellhorn” (Dir. Philip Kaufman)
“Ai To Makoto” (dir. Takashi Miike)
Special Screening:
“Der Mull Im Garten Eden” (dir. Faith Akin)
“Mekong Hotel” (dir. Apichatpong Weerasethakul)
“Villegas” (dir. Gonzalo Tobal)
“A Musica Segundo Tom Jobim” (dir. Nelson Pereira Do Santos)
“Journal De France” (dir. Claudine Nougaret & Raymond Depardon)
“Les Invisbles” (dir. Sebastien Lifshitz)
“The Central Park Five” (dir. Ken Burns, Sarah Burns, David McMahon)
“Roman Polanski: A Film Memoir” (dir. Laurent Bouzereau)
So excited for many of these, especially Laurence Anyways. I really hope some of these will be released in France at the same time as they are shown at Cannes as I’ll be there soon after.
Notes on Tiny Furniture:
Realness, part 1: Dunham uses her own family, her own high school friend, her own apartment, her own video art in the movie. But it’s not an amateurish movie. There are a lot of just perfectly framed shots. In the movie, her sister calls her “desperate”, calls her work desperate for attention, mostly because she’s not wearing pants. I read that her dad wouldn’t participate in the movie, because of privacy concerns.
Realness, part 2: What really won me over was Dunham’s enactment of failed femininity. Representations of girls who don’t just “naturally” exude cuteness and sweetness and girlness are really important to me, and I love how Dunham does this. Her hair’s unbrushed, she never wears pants, she has zits. When she wears lipstick or whatever it doesn’t look perfect or natural or right still. Don’t get me wrong, I think Dunham’s super-cute IRL, but she really, in the movie, works at looking ordinary. She kind of exposes herself to you, like she did in her video art, which draws a lot of comments on Youtube about how “fat” she is. I found it surprisingly compelling to be confronted constantly by a body that looks…a lot like mine. It seems counterintuitive to want to fix the problems of the male gaze by putting more partially dressed women on film, but it was really powerful for me.
Sex in a Pipe: I can’t even find anything to say about the sex-in-a-pipe scene, but I think it’s probably really important to the overall context of the movie and I just want to remind myself when I think of the movie not to forget about it.
Vulnerability is a privilege: I know one of the critiques of Dunham is that she’s uber-privileged. Her family’s well-off, her parents are successful in the art world, it kind of seems like she should have nothing to feel bad about, or no “real” problems or whatever. But I think that all those layers of privilege probably are what allows her to be this vulnerable, in her work. Just to feel safe exposing that much.
Being Successful: I like the part where Aura’s friend Charlotte tells her that their people are assholes, their parents are assholes. Aura insists that her mom isn’t an asshole, and Charlotte replies that she must be an asshole to be as successful as she is. I feel like the movie kind of posits the successful = asshole equation. Certainly true of “he’s a big deal on youtube” guy. While this isn’t true at all in my experience, I do feel like it’s probably something Aura believes. In the last scene, when Aura’s in bed with her mom, she tells her that she doesn’t want to work a crappy job, she just wants to be successful. Maybe this is how she’s desperate.
(via feministfilm)
So sad this will be released in France after I get there. Woody Allen’s movies are always released so late in the UK.
(Source: ashamp)
The story of my solitude
If my solitude were a fish
It’d be so enormous, so militant
A whale would get out of there
I know it would
I’m sure it would
The story of my solitude
If my solitude were a fish
It’d be so enormous, so militant
A whale would get out of there
Don’t assume that I’m dead
Don’t assume that I’m dead
Music stacked up like wooden blocks
Is the only salvation
(Source: khoisplace)
