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2014 Cannes Film Festival: Ryan Gosling’s Lost River

In all my years attending the festival, the world premieres that take place in the mythic, film history-rich lieus such as the Lumiere (Main Comp), the Debussy (Un Certain Regard) and oft-renamed setting where they house Directors’ Fortnight (JWMariott) are met with a standard, ten minute standing ovation when the credits role. With the filmmaker team present, it would simply be bad form to pass vocal judgement — the hissing and booing we often hear about are more often than not during the early morning press screenings.

Landing a coveted spot in the Un Certain Regard section, a section that protects “high art” or the “experimental” type, Lost River was swarmed with immense curiosity. Could working with the likes of a Derek Cianfrance or Nicolas Winding Refn pass on some filmmaker skill genes? My first thought at the fiery credit roll was: is this is how actor-turned-first-time-director Johnny Depp’s The Brave (1997) might have been received way back in the Cannes time machine? Here is premiere night for ya.

 

Eric Lavallée is the founder, CEO, editor-in-chief, film journalist, and critic at IONCINEMA.com, established in 2000. A regular at Sundance, Cannes, and Venice, Eric holds a BFA in film studies from the Mel Hoppenheim School of Cinema. In 2013, he served on the narrative competition jury at the SXSW Film Festival. He was an associate producer on Mark Jackson’s "This Teacher" (2018 LA Film Festival, 2018 BFI London). In 2022, he was a New Flesh Juror for Best First Feature at the Fantasia International Film Festival. Current top films for 2023 include The Zone of Interest (Glazer), Inside the Yellow Cocoon Shell (Pham Thien An), Totem (Lila Avilés), La Chimera (Alice Rohrwacher), All Dirt Roads Taste of Salt (Raven Jackson).

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