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Cannes 2009 Day 3 Offerings: Campion, Porumboiu, Chan-Wook, Costa, Gondry
Today is an exciting day for fans of Jane Campion who looks like she as returned to form. If there was a film that I wanted to see badly (had to miss it yesterday because I wanted to see Coppola open talk about Tetro) is Andrea Arnold's Fish Tank which from yesterday's buzz means that I might be looking forward to a great follow up to her debut film Red Road. Finally, I'll catch an early screening for Taking Woodstock from Ang Lee.
Cannes 2009 Producer’s Patch: Odd Lot International
Odd Lot International is the foreign sales division of Odd Lot Entertainment and though they don't have a huge inventory, the titles they do have are worth keeping track of beginning with John Cameron Mitchell's Rabbit Hole which should be among our most anticipated films to see next year.
Cannes 2009 Day 3: Life’s a Bitch in Andrea Arnold’s Fish Tank
Borrowing from the 50's/60's kitchen sink films, borrowing the lead actress (Kierston Wareing) from Ken Loach's last picture and borrowing from the spirits and miserable life settings that afflicted her previous female characters in short film Wasp, and the voyeuristic Red Road, Andrea Arnold offers such a rich character portrayal featuring newbie actress Katie Jarvis who becomes the poster child for a maligned adolescence and just as difficult childhood.
Cannes 2009 Producer’s Patch: Celsius
London based Celsius (an indie financier) comes to Cannes with a small but determined line-up and they officially give the Cannes market a shot to the arm with the market screening for Freakonomics: which brings together the talents of documentarian filmmakers Alex Gibney, Morgan Spurlock, Eugene Jarecki, Rachel Grady and Heidi Ewing.
Cannes 2009 Day 2: Rumor Mill is a Plus in Mathias Gokalp’s Rien de Personnel
To put it simply, Rien de Personnel (the opening film for the 48th edition of the Critic's Week) is a sophisticated film that really only gets going in the final act, which is sort of the point of Mathias Gokalp and Nadine Lamari's screenplay.
