The Conversation: 2016 Cannes Film Fest Halfway Point Pulse

Eric Lavallee: Hello Nicholas. Yesterday we completed week one and we’re close to the midway point. We’ve been anticipating Maren Ade’s Toni Erdmann for what feels like years now and it is clearly a cut above the rest of the field. Could you describe the experience of watching the film with an audience and what kind of post screening reactions and chatter you heard once the lights went up…
Nicholas Bell: Hey Eric. I saw the first press screening and was delighted it defied my expectations even with such high anticipation (I blew off my only chance to see Jodorowsky because I wanted to see the very first). I can’t remember the last film I’ve seen with such an ability to make me laugh and wish the scenario not to end. The audience seemed equally enthused, and the screening was met with considerable applause. I only wish I had had the good sense to make it my last film of the day that evening.

Lavallee: Yesterday, Toni Erdmann was picked up by Sony Pictures Classics. Do you think this is a good fit?
Bell: I have some reservations….mostly I fear them attempting to cut down the running time, which would be a huge mistake. But if it wins a major award (I would love Ade to take the Palme, at least as far as what I’ve seen), I don’t see how any distributor would dare.

Lavallee: Actress Sandra Hüller appears to be the frontrunner for the Best Actress award (of course, if she wins this means that Ade doesn’t nab the Palme d’Or) and we’ve got American Honey‘s Sasha Lane is not to far behind with Adam Driver in Jarmusch’s Paterson also hitting a nerve. Any other buzz performances worth acknowledging at this point?

Bell: I think Hayley Squires from the Loach film was impressive…and would be a good way to honor the film if Ade wins the Palme. Of course, I haven’t seen Elle yet, and Huppert might steal everyone’s thunder.

Lavallee: In your review of American Honey you praise the work of cinematographer Robbie Ryan, on the technical side are there any other film people that delivered ace work?
Bell: I always find myself more aware of Ryan when he works with Arnold rather than Loach, which sounds counterintuitive regarding effectiveness..but Loach’s film feels, in look and tone, incredibly square by comparison. But to answer your question, I loved Chung Chung-hoon’s work on The Handmaiden.

Lavallee: So far Bruno Dumont’s Slack Bay (Ma Loute) appears to have played the best among French films, are you surprised by this?
Bell: No. I liked a good deal of it, but was equally put off by it’s zaniness, appreciating what it attempts more than it actually succeeds, like if Tati had made a comedy about cannibals.

Lavallee: Looking at the second week ahead, what films do you think will challenge or disrupt the the current consensus top pick for the Palme d’Or?
Bell: Well, it feels like there are so many more potential greats….but for Palme hopefuls I have high expectations for Aquarius, Personal Shopper, and Graduation. As I said, my excitement for Elle concerns Huppert as actress, but of course I would love it to overwhelm me in every regard.

Lavallee: Outside of the Comp films, what’s been your top film or discovery in the sidebars (UCR, DF or CW)? And is there any films in the UCR that would have slotted in the Comp section?
Bell: I’ve been a tad disappointed with my ventures into UCR thus far (but sitting to see Boo Junfeng’s Apprentice as I write this). I’ve a few out of comp titles I’m still highly anticipating, such as the new Serra and Na Hong-Jin film. But I managed to catch Mitsuyo Seo’s Momotaro in Cannes Classics (sadly missed an Arturo Ripstein I was eager to see), a 1945 animated propaganda film from Japan, and that was a definite delight.