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Cannes 2011: Year of the Women

Posted by Yama Rahimi on May 10, 2011
Source: -

Regardless what larger themes or shifting styles that are discovered or get attached to this year's Cannes batch, one of the major conversation starters is the prominence of global female filmmakers at the festival. There are 22 feature films by female directors (and I'm not even including the short films) which should be a record for any festival in recent memory. We have renowned auteurs Naomi Kawase and Lynne Ramsay to actress-turned-directors, Jodie Foster, Maiwenn, Nadine Labaki, Eva Ionesco, Hagar Ben Asher. Among the 22, with have a dozen or so from first time filmmakers including Julia Leigh (see below) whose first film is in the official competition and comes with the blessing from fellow Australian and Palme d'Or winner Jane Campion. See the 22 names below.

Julia Leigh Cannes 2011

The Official Competition
Naomi Kawase, Hanezu No Tsuki
Julia Leigh, Sleeping Beauty
Maiwenn, Polisse
Lynne Ramsay, We Need to Talk about Kevin

Out of Competition
Jodie Foster, The Beaver

Special Screenings
Frederikke Aspock, Labrador

Un Certain Regard
Nadine Labaki, Et maintenant on va ou?
Juliana Rojas (co-director), Trabalhar Cansa

Directors' Fortnight
Urszula Antoniak, Code Blue
Alice Rohrwacher, Corpo celeste
Fiona Gordon, La Fee
Valerie Mrejen (co-director), Iris in Bloom
Rebecca Daly, The Other Side of Sleep
Liza Johnson, Return
Leila Kilani, Sur la planche
Natalia Almada, El Velador
Isabelle Lavigne (co-director), La Nuit elles dansent

Critic's Week
Valerie Donzelli, La Guerre est Declaree
Eva Ionesco, My Little Princess
Delphine & Muriel Coulin, 17 Filles
Hagar Ben Asher, The Slut
Katia Lewcowicz, Why are you Crying?



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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