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In Korkoro, Gatlif seems to have found his Sven Nykvist in cinematographer Julien Hirsch, who is actually the anti-Nykvist, employing a palette as restless and vivid as Nykvist’s was austere. Suffice it to say that grass has never looked greener in a film.

In give or take 364 days from now, the 65th edition of the Cannes film festival will be upon us. I know it's absurd, but there are some bonafide films in the works from some Cannes vets and according to these prognostications I supply below, we'll have one more heavyweight event with the possible participation from the likes of Abbas Kiarostami, Olivier Assayas, Paul Thomas Anderson and Hou Hsiao Hsien being joined by recent Palme d'Or winners (2008 and 2009) Laurent Cantet and Michael Haneke.

It was in the script. I mean, with her dresses, Xavier really wanted something 1950s/1960s, because from that, he wanted to mix contemporary references. Because love has no age. Even as generations change, love is the same. It was a way to attribute to older generations who felt the same way about love.

Compared with last year, Fortissmo Films come packing with only a single title, but that doesn't mean their sales agent won't be spending pretty much the entire festival from their rented office balcony. They signed a fairly ambitious deal with Fox - first time I've heard of a major studio outputting their titles to a films sales company of this nature and they've got one receiving a world preem at the festival in Sergei Loznitsa's My Joy.

They haven't got many world preems, today's press release only mentions Michael Hoffman's The Last Station, but that could all change – as the festival has some surprises in store for patrons (this would be a good time to bring out All Good Things into the Oscar mix) and everyone is expecting Jason Reitman to show up. We are checking his twitter status.