Cannes 2011

LOVEFiLM

Melancholia: Kirsten Dunst

Melancholia: Kirsten Dunst

3 STARS

Just a few days after Terrence Malick’s Palme d’Or-winning The Tree Of Life showed us the beginning of the universe, Lars von Trier’s Melancholia gave us the end of the world. It’s a disaster movie. A double-disaster movie, in fact, as Danish dogme classic Festen collides with Hollywood meteor-drama Deep Impact.

Part One (“Justine”) sees Kirsten Dunst (winning Cannes’ Best Actress award in a role originally written for Penelope Cruz) as a crushingly depressed bride whose lavish wedding to True Blood’s Alexander Sarsgaard goes rapidly off the rails. Part Two (“Claire”) sees Dunst’s straight-laced sister Charlotte Gainsbourg and her scientist husband Kiefer Sutherland discover that the mysterious planet Melancholia is on an apocalyptic crash-course with Earth.

Sean Penn

Sean Penn

2 STARS

Of all the films in competition at Cannes, none of them had a premise as tasty as this: a former goth star-star (Sean Penn) goes on the hunt for the Nazi tormenter of his dead father. Shame, then, that Italian director Paulo Sorrentino’s US roadtripper This Must Be The Place emerges as something both weirder and less focused. Sporting a giant crow’s nest of black hair, makeup, granny glasses and a squeaky voice, Sean Penn’s Cheyenne looks alarmingly (like so many retired rockers do) like a pre-op transvestite. His eccentric performance kinda works and kinda doesn’t – much like the film itself. As Cheyenne journeys from Dublin to make a classic odyssey through middle America, scenes and cameos (including one from Talking Heads’ David Byrne, whose song provides the title) stack up without ever really adding up. There are some funny, touching moments and the evocative cinematography shows Sorrentino has the rare eye of a stranger in a strange land. More than anything, though, the weight of the Holocaust seems too heavy for this wannabe cult-curio to carry, despite its surrealism and sincerity.

Cannes 2011 Jury: Johnnie To, Mahamat-Saleh Haroun, Nansun Shi, Martina Gusman, Robert De Niro, Linn Ullmann, Jude Law, Uma Thurman and Olivier Assayas

Cannes 2011 Jury: Johnnie To, Mahamat-Saleh Haroun, Nansun Shi, Martina Gusman, Robert De Niro, Linn Ullmann, Jude Law, Uma Thurman and Olivier Assayas

Well that’s it, the 64th Annual Cannes Film Festival has come to an end.

Robert De Niro and his jury revealed the prizes winners during the Closing Ceremony, with Mélanie Laurent hosting and Jane Fonda on hand at the Grand Théâtre Lumière to award the Palme d’or to the winning film.

The night’s big winners were Terrence Malick’s The Tree of Life, which was awarded the Palme d’Or, and Drive’s Nicolas Winding Refn was picked up Best Director. Best Actor went to Jean Dujardin for his performance in Michel Hazanavicius’ The Artist, and Kirsten Dunst was awarded Best Actress for Lars von Trier’s Melancholia.

The final premiere of the festival and the Closing Film was Christophe Honoré’s Beloved (Les Bien-Aimes), starring Catherine Deneuve, Chiara Mastroianni, Ludivine Sagnier, Louis Garrel and Milos Forman.

Kirsten Dunst

Kirsten Dunst

Ryan Gosling and Nicolas Winding Ref

Ryan Gosling and Nicolas Winding Ref

Uma Thurman

Uma Thurman

Rosario Dawson

Rosario Dawson

It’s almost the end of Cannes 2011 and hopefully you’ve enjoyed our coverage of the festival. We like to go out in style here at LOVEFiLM, so as we say au revoir to the French Rivera, check out this rather impressive blooper reel…

P.S. Sorry for the ‘colourful’ language!

Ryan Gosling and Carey Mulligan

Ryan Gosling and Carey Mulligan

4 STARS

Buckle up for the most fun we’ve had (in a cinema) at this year’s Cannes: hotshot Danish director Nicolas Winding Refn – who spun the story of Brit criminal Charles Bronson into a 21st-century Clockwork Orange – slams his foot down for a pulsing thriller about an enigmatic stuntman (Ryan Gosling) who moonlights as a genius getaway driver.

Opening with a clever stop/start chase sequence, Drive continues to slip gears brilliantly as it channels ‘80s throwback mojo and neo-noir intensity. The first half is a gentle, almost wordless love story between Gosling and sweet mom Carey Mulligan. The second half ignites with shocking, spectacular eruptions of violence as Mulligan’s jailbird husband (Oscar Isaac) brings ruthless gangsters crashing into their world.

Never wasting a word when a stare or a half-smile will do, Gosling is just ridiculously charismatic as the handsome iceman with a warm heart, giving a compulsive centre to a movie that’s streamlined for pure style. Drive might not have too much more under the bonnet but at least two awesome set-pieces – a slo-mo motel shootout and a breakneck road battle – will snatch your breath away. If only they’d give the next Fast And Furious to Refn…

Following it’s early morning screening, the talk of the town is Pedro Almodovar’s The Skin I Live In. With a mesmirizing performance from Antonio Banderas, this is a definite contender for the Palme d’Or.

The Skin I Live In

The Skin I Live In

4 STARS

We refuse to spoil the secrets of writer/director Pedro Almodovar’s terrific skin-flick – and shame on those who do – but it’s something as deliciously twisted as anything that extreme auteurs like Park Chan-wook (OldBoy) have cooked up for Cannes in past. Mystery melodrama, revenge thriller, body horror, loopy black comedy…

The Skin I Live In sutures everything together for a genre-bender, a gender-bender and the most enjoyable film we’ve seen at the festival so far. The story – based on French crime writer Thierry Jonquet’s novel Tarantula – begins with a beautiful woman (Talk To Her’s ridiculously hot Elena Anaya) apparently imprisoned in the lavish home of master plastic-surgeon Antonio Banderas, who has invented a way to create superhuman skin. From there… Well, you’ll have to wait and see. Things just get darker, weirder and wittier. And when you’re sure that a rapey jewel-thief dressed as a tiger is the oddest thing you’re going to see, Almodovar yanks a wicked central plot-pivot and corkscrews his tale of madness and passion to new levels. With Banderas still smouldering nearly 30 years after Almodovar first gave him his big-screen breakthrough, this is an exciting fresh thrust from Spain’s arthouse camp-daddy.

Day 8 began with director Lars von Trier causing controversy with a capital ‘C’ when he shared his opinions on Hitler during the Melancholia press conference. Following this, we had a rather lovely chat with Jodie Foster, to talk about her new film The Beaver, Mel Gibson and what she’s up to next…

This won’t be a Cannes that Lars von Trier will forget in a hurry, following the afternoon’s press conference for his new film, Melancholia. (Watch today’s video to see for yourself.)

Putting the controversy behind him, the director joined the film’s stars for the evenings premiere, including Charlotte Gainsbourg and Kirsten Dunst, who play sisters in the film. Jodie Foster, whose film The Beaver premiered the previous night, was also in attendance.

Guest, producer Meta Foldager, Charlotte Gainsbourg, Kirsten Dunst, Director Lars von Trier, Bente Froge, guest and Charlotte Rampling

Guest, producer Meta Foldager, Charlotte Gainsbourg, Kirsten Dunst, Director Lars von Trier, Bente Froge, guest and Charlotte Rampling

Kirsten Dunst

Kirsten Dunst

Jodie Foster

Jodie Foster

We’re half way through the festival, which is a good time to reflect on the films shown so far. We chat to IMDb founder Col Needman, The Observer’s Jason Solomons, film critic Jonathan Crocker and Picturehouse Cinemas’ Claire Binns, to find out their highlights and who they think is in the running for this year’s Palme d’Or…