BMC MOVIE OF THE WEEK: DAGON

Dagon (2002)

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• Ezra Godden,
• Francisco Rabal,
• Raquel Merono

The nightmares of Paul Marsh (Ezra Godden), a successful businessman, are haunted by a mermaid that neither he nor his beautiful girlfriend, Barbara (Raquel Merono), can figure out. While on a boating vacation off the Spanish shore, a sudden storm sends their sailboat crashing into the rocks, causing Paul and Barbara to paddle to the nearby fishing village for help. But the village is inhabited by a race of people who are half-human/half-fish, and the time has come for them to sacrifice humans to their monstrous leader, Dagon. Not only that, but Paul's nightmares become horrifying reality when he encounters beautiful and passionate Uxia (Macarena Gomez), the mermaid of his visions, and boy does she have a surprise for him besides the double tentacles under her skirt. – Rovi

40% want to see it

R, 1 hr. 35 min.

Director: Stuart Gordon

 

May 29, 2011: Sixth Sunday of Easter (Year A)

Oh sure, Stuart Gordon’s made more than a few notable B-movies (Dolls, Robot Jox, Space Truckers. No, seriously, Space Truckers, look it up.) in his time, but in the end it’s his Lovecraft inspired films (Re-Animator, From Beyond, Castle Freak) which have earned him a throng of lifetime devotees. So it was no big surprise when Gordon returned to the tentacle ridden tomes of ole H. P. again  in 2002 with Dagon, a story based mostly on The Shadow Over Innsmouth. No, the big surprise is that, after two decades of mining the same territory again and again, Dagon actually turned out to be one of the director’s best.

What Dagon manages to accomplish that other attempts at adapting Lovecraft have failed so miserably at is to capture what The Encyclopedia Cthulhiana: A Guide to Lovecraftian Horror describes as the essence of the author’s work, the cosmic horror of the unknown. That’s not to say the movie doesn’t deliver its fair share of fishy monsters and gooey puddles and the peeling off of flesh (not a scene you’re likely to forget any time soon) that one would expect to find in a Lovecraft movie, because it certainly does. But more importantly, what Dagon has in abundance is an overwhelming sense of doom for what might be coming next.

Shot on location in what has to be the oldest creepiest seaside village in all of Spain, the movie has an atmosphere so wonderfully thick you could latch onto it with a boat hook. Gordon films the town (of course) in a perpetually dark never ending downpour, and you can’t help but get a little case of the willies as the various deformed fish-men lumber and drag themselves through the shadowy waterlogged cobblestone laden back alleyways.

That doesn’t really sound like the kind of town you’d want to visit, does it? That’s why the script wisely has Barbara kidnapped almost immediately, so it gives the character of Paul good reason to stick around and explore the town even after he starts noticing gill slits on the locals and hearing the moans of "Iä! Iä! Cthulhu fhtagn!" In a way, Paul’s situation calls to mind this week’s first reading in which “Philip went down to the city of Samaria and proclaimed the Christ to them. With one accord, the crowds paid attention to what was said by Philip when they heard it and saw the signs he was doing. For unclean spirits, crying out in a loud voice, came out of many possessed people” Which might make you ask, just what kind of place was this Samaria to be so overrun with possessed people and why would Philip purposely want to spend any amount of time there?

Well, according to the Ask A Rabbi website, which seems to pretty much gel with what Josephus' reported in his Antiquities of the Jews, “The Samaritans were non-Jews brought to Israel by the Assyrians to populate the North after the exile of the Ten Tribes. They ostensibly converted to Judaism, but in reality they continued worshipping idols, save for a period when they were mistakenly considered genuine converts; hence the Samaritans were not considered Jews, neither by Jewish law nor by the Jewish people. They did not accept the Oral Tradition, which forms the overwhelming bulk of Jewish law. They also did not accept any books of the Bible except for the Pentateuch and the book of Joshua… The Samaritans often acted as enemies of the Jewish people. They tried to destroy the Temple and to inform against the Jews to Roman authorities.” So ancient Samaria was basically a place populated with psuedo-Jews with some paganistic influences which might possibly account for the high possession rate. So it’s no wonder the ancient Jews wanted nothing to do with the place.

Except for Jesus, who stubbornly kept showing up in Samaria time and time again, even when He wasn’t all that welcome (the apostles pretty much wanted to burn the place to the ground in Luke 9). So really, Philip was just following in his master’s footsteps. And so must we. Which means sometimes we have to cut off the computers and deal with unbelievers face to face, maybe even on their own hostile turf. As Pope Benedict XVI put it at the Vatican’s World Day of Communication a few months back, "Entering cyberspace can be a sign of an authentic search for personal encounters with others, provided that attention is paid to avoiding dangers such as enclosing oneself in a sort of parallel existence, or excessive exposure to the virtual world… It is important always to remember that virtual contact cannot and must not take the place of direct human contact with people at every level of our lives.” So let’s get out there and talk to people. I promise, only a handful of them are devolving into slimy fish-men.

 

Wedding Crashers

Almost Summer Movie Bits

After Cannes I was left with an entertainment mood wishing to watch only irrelevant escape films that take me into fantasy land. So that’s exactly what I have been doing with a few exceptions. But I’m also in a 3D mood so for sure will go to watch not Pirates but the green movie that soon will open at a theater near you with none other than Ryan Reynolds and a story about my favorite super hero from when I was a kid.

Unknown – If you don’t expect much then this thriller will entertain you even when story is similar to many other stories –man hits head and not even wife recognizes him- but here the twist at the end is unexpected and unfortunately anticlimactic. Starring great Liam Neeson carrying the entire film well -but take note that this is NO great Taken- plus many other great actors like Bruno Ganz, Sebastian Koch, Frank Langella, Aidan Quinn, January Jones and Diane Kruger makes movie watchable and for a while you will surely forget everything about your real life. Enjoy!

Just Go with It – Expecting not much, movie really surprised me. First because I had no idea Nicole Kidman was here and much less that she was doing comedy. Second because movie is as good/entertaining as those movies with the Sandler/Barrymore duo. Third I had fun watching Jennifer Aniston, which is absolutely unusual. So if you liked movies like The Wedding Singer and/or 50 First Dates I know you will enjoy this movie. Enjoy.

Red Ridding Hood – Perhaps I really like Catherine Hardwicke filmmaking style with spectacular outdoor compositions and takes but to my huge surprise, I enjoyed this movie for the visuals and well the unusual take on the classic fairy tale. Some female critics are saying that this movie target is female teenagers, hmm… maybe but even if I’m no teen I can tell you I enjoy watching great Julie Christie in the screen –she should act more often- and the twisted story that kept me wondering who the werewolf was. No, didn’t guessed right, so was absolutely unexpected, which is also unusual for me. This is no horror movie or thriller, is more like a suspense “who dunnit” kind of movie with spectacular visuals. Enjoy!!

Ilusiones Opticas (Optical Illusions) – When I finished watching this movie by Cristián Jiménez I said “is okay”. Not much time passed when I started to really think what I saw in the screen and then, story absolutely hit me hard, very hard. Movie is about “optical illusions” about what is crudely in front of you but you don’t chose to see it for whatever reason; so you create your fantasy to cover reality, to dream a dream of change, with a happier ending that never will be. Great story in a minimalist, narrative oriented film with some humor, some sadness, and some temporary happiness. If you decide to watch it you will not be disappointed. Enjoy!!!

Pa negre (Black Bread) - This Agustí Villaronga film tells about what lies can do to people, how one lie takes to another lie, how lies come from ignorance and from fear of what others could say if you admit truth, even when everybody else knows truth but chose to keep it silent or to forget about it, until truth comes out and everyone points fingers. Yes that’s what this entertaining movie is all about but using kids plus the harsh post-war years’ in Spain Catalan countryside makes what could have been a difficult-to-watch story into a more digestible story and an entertaining movie. Enjoy!!

Barney’s Version – Not sure what I was expecting from this movie, but surely wasn’t much as I don’t particularly like Paul Giamatti performances and much less, Scott Speedman; so when movie starts and goes to the past in Italy I almost stopped watching but decided to continue and I’m very glad as in the end, I liked this movie that tells the story of Barney Panofsky with his business successes, his female conquests –until he’s conquered by one woman- and his numerous failures. To me story and movie is a satire that pictures quite well the life of many men, a story that strongly resembles the life of many real life men that I know. An entertaining movie to escape reality while watching what could be reality to many. Enjoy!!

Ubiitsy (Killers) – This 1956 short film co directed by Andrei Tarkovsky when he was a student at VGIK absolutely is the best student film I have EVER seen. Is the last of Tarkovsky’s so reduced (11 titles) oeuvre that I had to see before I die or I decide to stop doing the blog. Now I can say that I have seen all his outstanding films and this short co directed with his student colleagues, with them acting, and with a scene with Tarkovsky acting is truly visual poetry even when is based on a short story by Hemingway about some killers that are in town to kill a man. If you love Tarkovsky’s work as much as I do, you have to watch this short film as well as the other 10 films he did. Truly Outstanding. BIG ENJOY!!!

El Sicario: Room 164 - A documentary that tells about the life (20 years) of a man as a highly trained Mexican narco hit man that will capture your attention not only because what he says but also for his multiple drawings while telling the most horrible stories of killings, kidnappings, torture and all the things he did while being trained, starting to work, becoming an expert and how he went into hiding, as now there is a contract on his life of US$250,000. You will not see a thing but you will hear everything, which I believe makes it more ice-cold terrific. Still, is mesmerizing until the very not-expected end that is totally anti-climatic and ruined the doc for me. Watch at your own risk. Enjoy!

El Infierno (Hell) – Actually watched this film before watching the above documentary and definitively was the reason why I decided to watch El Sicario as wanted to learn more about narco’s life as with this movie you get a satiric approach, which is very entertaining and definitively succeeds in getting you to think about this theme that you hardly think about it in your everyday life. As mentioned in other post, film is good as humor facilitates watching everything; but when you live or have lived in Mexico or any other country where chaos is real, film definitively is must be seen to realize that after all whatever is happening in Mexico -and many other similar countries- is consequence of many years, hundreds of years, where citizens indifference –and participation- have made everything possible as they did before, are doing today and unfortunately will continue to do tomorrow. According to what I read –and I agree- many films released for Mexico’s bicentennial celebration tell so many dark truths that makes many wonder if there is something to celebrate as “nothing has changed much” after 200 years. Enjoy!!!

Surely I’m forgetting some films, but this is it for today!

Cheers!

NOW SHOWING AT A BLOG NEAR YOU

While everyone else is gearing up for the big summer movie season, the big news around here is actually the announcement that every Thursday in June is Drive-In Double Features days on Turner Classic Movies. We’re talking movies like Tarantula, Attack Of The 50 Ft Woman, Queen of Outer Space, and many more, including a few choice Godzilla flicks. It’s just… (sniff) just… (sniff, sniff) I’m sorry, please forgive me. I promised I wouldn’t tear up when passing on this news. Just give me a moment…

Okay, I’m back. You know, as long as we’re mentioning summer blockbusters, we may as well point you to some reviews for the first one out of the gate, the big screen debut of Marvel Comic’s Thor. While the critics reactions have been mixed, the audiences have for the most part taken quite a liking to it. And the religious reaction to Thor has been pretty positive, as well. For a good sampling, take a gander at the reviews to be found at Spiritual Popcorn, The American Catholic, and Speculative Faith.

Thor is actually the only movie I’ve seen in theaters so far this year, and for me, the old school comic book approach to the story more than compensates for the movie’s flaws. The universe Thor inhabits is one where fathers are strong and wise, bad decisions have bad consequences, and women, though equal in brain and brawn to men, are treated like the ladies they are (unlike, say, the feminist approved ‘pervert whores’ taken to task by Sci-Fi author John C. Wright.). What a breath of fresh air. It might be a few years before my 8 year old is allowed to watch the latest Batman and Iron Man movies, but I’d pop in a DVD of Thor for him without thinking twice.

Which reminds me, over at the Catholic News Agency, professional musician Dan Lord has some suggestions of his own about choosing movies for your kids. Based on his criteria, I would guess taking the tykes to see the recent sex comedy Bridesmaids is out of the question. That being said, Allison from YIMCatholic still managed to find some thought provoking questions amidst all of the naughty hijinks and gross out moments one would expect from a movie made by the producers of Knocked Up. Alas, Tom Hoopes at CatholicVote.org finds no similar wisdom in actress Keira Knightley’s comments on adultery made during an interview for her latest film Last Night. But don’t worry, even if the latest round of chick flicks is letting you down, you can always revisit some old quality chick TV. Take Joe Wetterling, host of The Baptized Imagination, for instance, who recently pondered the wisdom of Buffy The Vampire Slayer’s rebound vamp Spike as he explains why the “Blood is life, lack brain.”

Now ladies, just because a lot of the links this time around were for you, don’t forget the men in your lives. With Father’s Day just around the corner, you might be looking for a special gift for that guy who has everything. Well, may we suggest a nice bottle of Crystal Lake Wine (probably not appropriate for use in mass) or perhaps some Han Solo Frozen In Carbonite Ice Cube Trays?

Well, why you’re making your mind up about that, I’ve got to get busy with more blog goofiness. So see you next time.

COMING ATTRACTIONS: BEYOND THE VALLEY OF THE DOLLS

In case there’s still some of you out there who weren’t aware, I take requests for reviews, many of which come in the form of challenges. Of course, that can result in something of a mixed bag. Requests have brought us everything from Santa Claus Conquers The Martians to Satisfaction to I Spit On Your Grave. That’s a pretty wide range of (questionable?) tastes. But even so, there’s still lots of different kinds of movies out there I’ve never touched on. So it was no surprise a few weeks back when an email arrived suggesting that perhaps I was playing it safe and avoiding some of the darker corners of the cult movie universe, that maybe it was time I dealt with… Russ Meyer.

Fair enough, but which one of his movies to review? Obviously, about 80% of Meyer’s oeuvre is automatically disqualified for being nothing more than soft porn. I got some standards, after all. So after going through the list, I narrowed it down to three. Now while Mudhoney contains every theme typically associated with Meyer, there’s really not much to it, so I passed. Trashmeister John Waters called Faster, Pussycat! Kill! Kill! the best movie ever made, and it is the very definition of a cult movie, but after watching it again, I actually found it pretty tame compared to the rest of the director’s output and I don’t think that’s what the requester was going for. So that pretty much left me with Beyond The Valley of the Dolls, the first collaboration between Russ and Roger Ebert.

It goes without saying this is one review that won’t be for the kiddies. Wish me luck.

53rd Ariel Awards

A while back the Mexican Academy had their award ceremony where the narco-themed satire El Infierno (Hell) swept the awards by winning nine top film prizes, including best picture and director. I have seen the movie -that was released under Mexico’s Bicentennial celebrations- and is a dark comedy that precisely because the humor is able to tell and show many crude “realities” about what’s happening in Mexico with the narco, the government, and perhaps most of all its citizens. It’s a film that many should watch, especially if you live in a country where citizens indifference facilitates chaos.

Here are nominations with winner in (*) BLUE for some categories.

Best Film
Abel, Diego Luna
Chicogrande, Felipe Cazals
(*) El Infierno (Hell), Luis Estrada

Best First Film
Alamar, Pedro Gonzalez Rubio
(*) Año Bisiesto (Leap Year), Michael Rowe
La Mitad del Mundo, Jaime Ruiz Ibáñez

Best Director
Diego Luna for Abel
Felipe Cazals for Chicogrande
(*) Luis Estrada for El Infierno

Best Actress
Karina Gidi in Abel, Diego Luna
(*) Mónica Del Carmen in Año Bisiesto (Leap Year), Michael Rowe
Maricel Alvares in Biutiful, Alejandro González Iñárritu
Ursula Pruneda in Las Buenas Hierbas (The Good Herbs), María Novaro

Best Actor
Javier Bardem in Biutiful, Alejandro González Iñárritu
(*) Damián Alcázar in El Infierno (Hell), Luis Estrada
Demián Bichir in Hidalgo, la Historia Jamás Contada, Antonio Serrano
Hansel Ramírez in La Mitad del Mundo, Jaime Ruiz Ibáñez

Best Iberoamerican Film
El Hombre de al Lado (The Man Next Door), Mariano Cohn and Gastón Duprat, Argentina
(* Tie) José Martí: el ojo del canario, Fernando Pérez, Cuba
(* Tie)También la lluvia (Even the Rain), Iciar Bollaín, Spain

To check nominations in all categories go here and for all winners go here.

Many were wondering why the movie that was submitted to 2011 Oscar was not even nominated in top categories, but some of us know that Mexico politics are not always clear not only in the Country but also in cinema circles. Anyway if you wish to understand better what’s going on in Mexico, then El Infierno should be must be seen for you.

Furry Vengeance

4D MAN

THE TAGLINE

“He Walks Through Walls Of Solid Steel And Stone... Into The 4th Dimension!”

THE PLOT

After burning down his own lab during an attempt to create a device which would allow the user to pass through solid matter, the brash and brilliant young scientist Tony Nelson shows up at his big brother Scott’s lab for help. The equally brilliant (yet not so brash) elder Nelson, who is in the process of perfecting a metal which is virtually impenetrable, happily hires on his sibling as an assistant. All seems to go well for awhile, but Scott’s mental stability begins to crumble after the credit for the super-metal Cargonite is all but stolen by his corporate sponsor and his fiancé Linda begins to have feelings for Tony. Consumed with bitterness, Scott breaks into his little brother’s locker and steals the younger scientist’s experiment in hopes of discrediting it. After all, there’s not much use in inventing an impenetrable metal if your brother invents a machine that can pass through it. Much to Scott’s shock however, his singularly unique brainwaves (an unfortunate side effect caused by the radiation from his own experiments) are the key to activating the machine, and he succeeds in developing the ability to to become intangible. Unfortunately, there is a terrible cost to his success. Scott quickly discovers that the energy required to change his physical state causes his body to rapidly age and the only way he can regenerate is to suck the life force from someone else, a process which proves immediately fatal for the victim. As Scott sinks deeper into madness and the bodies begin to pile up, it becomes apparent to Tony and Linda that they have to devise some method of stopping the man they both still care for. But how do you stop someone you can’t even touch?

THE POINT

Wow, who wrote this thing, Sigmund Freud? I mean, seriously, you’ve got a young studly scientist working on a device that can penetrate anything. And then you’ve got his older repressed scientist sibling whose invention involves the inability to be penetrated. Let me tell you, 4D Man is not so much a movie with implied subtext as it is a movie which hits you over the head with symbolism with all the subtlety of Wile E. Coyote getting a boulder dropped on his skull. Did I mention that Tony tests his penetrating machine by trying to thrust a long wooden pencil into an iron block? Exactly. One shudders to think what a director like Ken Russell would have done with this material.

Still, considering the director of 4D Man was Irvin S. Yeaworth Jr., it’s amazing the Freudian stuff made it onto the screen at all. According to Gary Westfahl’s Biographical Encyclopedia of Science Fiction Film, Yeaworth was “the son of an ordained minister (but never a minister himself, despite some accounts)… He first achieved a modicum of prominence in the 1950s as the head of a small Pennsylvania company, Valley Forge Films, producing noncommercial short subjects on religious themes; he had also by this time been credited as the producer and director of The Flaming Teen-Age (1956), an obscure teen exploitation movie with a devotional spin. One of his works must have been pretty impressive, for it inspired New York producer Jack H. Harris to invite Yeaworth to direct a cheap science fiction film for general release. In response to this odd opportunity, the devout Yeaworth surely prayed earnestly for divine guidance, and the Lord, once again displaying His infinite wisdom, advised him to accept the assignment.” That ‘cheap science fiction film’ turned out to be a little flick called The Blob, which immediately creeped and leaped its way into movie history and made a star out of its then unknown lead, Steve McQueen.

Having been pretty much guaranteed a chance to direct a second film due to the blockbuster success of The Blob, Yeaworth next turned to 4D Man, another cheap science fiction film based on ideas suggested by Jack H. Harris’ 13 year old son (um, the walking through walls and such, not all of that penetration subtext, at least I hope not). Unable to secure Steve McQueen for a second go around due to the actor’s rising price tag, the filmmakers instead turned to a couple of more then unknowns in Robert Lansing and Lee Meriwether. And again they struck gold. While former Miss America and future Catwoman Meriwether holds her own in what could have easily been a throwaway role as “the girl”, it’s Lansing who is the standout. He may be no McQueen, but he’s spot on in the role of the elder Nelson brother, both in the beginning when he’s all work and no play, and later on when he’s anything but a dull boy.

And it’s a good thing they chose some real actors, because cheap or not, the story kind of requires them. These characters aren’t your usual broadly played 1950s mad scientist types accidentally unleashing giant tarantulas and other such things on the world (not that there’s anything wrong with that, mind you). Instead, they’re more like real people who show up at the lab everyday to do some R&D in hopes of producing something useful whilst also finding a way to turn a profit for their bosses. (Sorry, folks, but only a miniscule percentage of real scientists are actively working on things which could turn us all into mutants. Darn it.) And unlike the happy go lucky teenagers of The Blob, these are flawed adults, sometimes admirable and sometimes a-holes. Tony is genial and genuinely concerned about his older brother’s feelings, having stolen a woman from him once before. But he’s also reckless (hey, how many labs have you burned down) and, let’s face it, not very resistant once Linda really starts coming on to him. And as for Linda, she’s intelligent and truly admires Scott, yet is pretty quick to throw herself at another man when he turns out to be a younger, hunkier, and, you know, more capable of penetrating things version of her betrothed.

But again, it’s Lansing as Scott who makes the movie. Like any good monster, he’s both sympathetic and frightening. You feel both his awkwardness and frustration in scenes like the one in which he comes upon his fiancé and brother sunbathing by a lake, and the pair immediately jump up and hurriedly begin putting clothes on over their bathing suits, almost as if Scott had stumbled upon them doing something else (which I’m pretty darn sure is just the association the movie wants you to make). But you also equally feel Scott’s creepy pent up lust and desire for control in scenes like the one in which he passes through the walls of Linda’s bedroom, gets mere inches from her face, and alternates between angry utterances and threats of a fatal kiss. Just the way he looks at Linda tells you he’s having major flashbacks to that experiment of thrusting a long wooden pencil into an iron block.

Which makes it sound like all 4D Man is about is the psychosexual undercurrent running throughout the narrative. But that’s not really the case. Kids can watch the movie and never notice any of that icky Freudian stuff. All they’ll see is a solid sci-fi outing about a guy who goes nuts and runs through (literally) the city taking what he wants and sucking the life out of people. And for grownups who’d prefer more palatable subtexts besides the main character’s sexual hang-ups to choose from, there are plenty of those as well. For instance, Scott’s condition can easily be seen as an allusion to the all-consuming bitter circle of drug addiction as he must kill to feed his power, but must evoke his power to kill, therefore using up more power and forcing him to find more people to kill. And in the conceit that it is only Scott’s unique brainwaves which can fully trigger the experiment, one could even find slight nods to Nietzche’s concept of will to power. Scott is the only one with the willpower to make the machine work, but it is a Nietzchean will, one that aims not at God or truth or absolute goodness, but rather one that is just a meaningless exercise to its own end. That being the case, it can ultimately lead to nothing but sorrow for all involved.

But probably the most interesting subtext which plays out in the movie is the paradoxical nature of the brother’s competing experiments. You see, for all intents and purposes, Scott is developing an immovable object while Tony is inventing an irresistible force. There’s even a line of dialog in the movie in which Scott recognizes this age old paradox and notes what a fitting allegory it is for the relationship between him and his brother. Which is kind of ironic, because as adherents to the scientific method, it’s most likely that both Scott and Tony would reject the whole notion of a true immovable object or irresistible force. That’s because the laws of physics would demand an immovable object to have infinite mass, which ain’t happening, while an irresistible force would require infinite energy, which ain’t possible.

Or is it? You see, the question of what happens when an unstoppable force meets an immovable object belongs more to the fancy of the philosopher rather than to the natural scientist’s study of observable phenomena. It’s the kind of self contradictory musing that goes all the way back to at least the 3rd century B.C. when the Chinese philosopher Han Feizi asked what would happen if a spear which could pierce all shields was used against a shield that could deflect all spears. A more entertaining version of the paradox comes from ancient Greek mythology in the form of the Teumessian fox, a giant beast that the gods decreed could never be caught. Tired of having the children of his city eaten by the creature, Creon of Thebes set loose the mystical dog Laelaps, whom the gods had blessed with the ability to catch anything it chased. Freaked out over the possible universal repercussions of such an impossible meeting, Zeus simply dodged the question and turned both animals to stone before they hooked up.

But ultimately, the only variation of the question to be of any real consequence is the one that’s come to be known as the omnipotence paradox, which basically asks, “Could an omnipotent God create a stone so heavy that He couldn’t lift it?” A number of atheists love this question because it would seem that either way you answer it, yes or no, you inevitably deny some aspect of God’s omnipotence. It’s a good enough question to have vexed a lot of people over the centuries, from Thomas Aquinas and Augustine, who both argued for certain understandings of omnipotence that differ from the one addressed by the question, to modern philosophers who speculate that there are different levels of omnipotence, to C. S. Lewis, who dismissed the asking of the question as utter nonsense to begin with. It’s all interesting, if sometimes convoluted, reading. And it may be a case of some people being too smart for their own good. Because, really, the simplest answer to the question might just be, “Yes, an omnipotent God could create a stone so heavy that He couldn’t lift it, because He already has.”

This solution is sort of hinted at in the finale of 4D Man (which I’m about to massively SPOIL), in which a mortally wounded Scott attempts to escape capture by passing through his own giant block of impenetrable metal, only to die halfway through. As film editor and movie critic Glenn Erickson observantly notes, “Since Scott's 4D existence is an unsustainable paradox, it is fitting that his godlike powers be neutralized by the collision of the two halves of his split personality: When the sexually charged 4D power stolen from Tony ("... When an irresistable force, such as you...") plunges back into the 'impenetrable' Cargonite that represents Scott's life-negating sterility ("... meets an old unmoveable object like me .."), the issue is resolved. Like Cronenberg's BrundleFly, Scott becomes one with his creation.” The final image we are given in 4D Man is of the irresistible force and immovable object becoming one and the same thing. And in a somewhat similar fashion, that is how God has answered the omnipotence paradox. Through the Incarnation, God became all at once a God who created the stone and a God who couldn’t lift it.

To accept this answer, of course, you have to accept the orthodox belief in who Jesus is as expressed in the Creed we say at every mass. Altogether now. “I believe in one God, the Father almighty, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, the Only Begotten Son of God, born of the Father before all ages. God from God, Light from Light, true God from true God, begotten, not made, consubstantial with the Father.” And yes, that’s the brand spanking new translation using the word consubstantial instead of the now defunct “one in being”. But as Russell Shaw explains, “The current translation to the contrary notwithstanding, “being” and “substance” aren’t the same thing. Being means “existence.” And while one trembles at the challenge of trying to say in a few words what “substance” means as a term in metaphysics, it signifies something like the unique, singular identity of a thing.” Or as the Catechism puts it, “The unique and altogether singular event of the Incarnation of the Son of God does not mean that Jesus Christ is part God and part man, nor does it imply that he is the result of a confused mixture of the divine and the human. He became truly man while remaining truly God. Jesus Christ is true God and true man.”

So God the Father made all of the stones, and God the Son can’t pick some of them up, even though they are in fact one and the same. (Yeah, yeah, I know Jesus gave us the beautiful symbolism of a faith that can move mountains, but nowhere does the New Testament describe Him juggling boulders in His spare time.) When you get right down to it, the answer to the omnipotence paradox, just like everything else… is Jesus. Who, now that I think about it, also had quite a bit to say about guys who spend too much time thinking about penetrating things. But that’s another post for another time.

THE STINGER

The Incarnation is just one of the many paradoxes we Christians contemplate all of the time. As Fr. John A. Hardon explained, “Christianity is the religion of paradox: that God should be human, that life comes from death, that achievement comes through failure, that folly is wisdom, that happiness is to mourn, that to find one must lose, and that the greatest are the smallest. What is paradoxical about the mysteries of the faith is that reason cannot fully penetrate their meaning, so that what seems contradictory to reason is profoundly true in terms of faith.”

64th Festival de Cannes Award Winners

With a “Blue Screen of Death” in the middle of the broadcast I watched the live Cannes 2011 ceremony (yay!), I’m so glad to have a fast, lean, clean machine that starts again FAST! Ceremony was fast, which is very welcomed by everyone. So, here are ALL the Cannes 2011 winners.

Main Competition

Palme d’Or: The Tree of Life, Terrence Malick, USA

Grand Prix (tie): Bir Zamanlar Anadolu’da (Once Upon a Time in Anatolia), Nuri Bilge Ceylan, Turkey, Bosnia and Herzegovina and Le Gamin au Vélo (Boy with a Bike), Jean-Pierre and Luc Dardenne, Belgium, France and Italy

Jury Prize:Polisse, Maïwenn, France

Best Director: Nicolas Winding Refn for Drive, USA
Best Screenplay:Joseph Cedar for Hearat Shulayim (Footnote), Israel

Best Actress: Kirsten Dunst in Melancholia, Lars Von Trier, Denmark, Sweden, France, Germany and Italy
Best Actor: Jean Dujardin in The Artist, Michel Hazanavicius, France

Honorary Palm d’Or: Bernardo Bertolucci and Jean-Paul Belmondo

Camera d’Or: Las Acacias, Pablo Giorgelli, Argentina and Spain (from La Semaine de la Critique)

Short Films
Palme d’Or: Cross (Cross-Country), Maryna Vroda, France and Ukraine
Special Mention: Badpakje 46 (Swimsuit 46), Wannes Destoop, Belgium

Un Certain Regard

Un Certain Regard Prize (tie): 아리랑 Arirang, Kim ki-duk, South Korea and Halt Auf Freier Strecke (Stopped on Track), Andreas Dresen, Germany
Jury Prize: Elena, Andrei Zvyagintsev, Russia
Best Director: Mohammad Rasoulof for Bé Omid é Didar (Good Bye), Iran

Quinzaine des Réalisateurs (Directors’ Fortnight)

Label Europa Cinemas: Atmen (Breathing), Karl Markovics, Austria
Art Cinema Award: Les Géants, Bouli Lanners, Belgium, France and Luxembourg
Prix SACD: Les Géants, Bouli Lanners, Belgium, France and Luxembourg
Séance "Coup de coeur": Play, Ruben Östlund, Sweden, France and Denmark
Carrosse d'Or: Jafar Panahi

Semaine de la Critique (Critic's Week)

Feature Films
Grand Prize: Take Shelter by Jeff Nichols, USA
Special Mention of the President: Snowtown by Justin Kurzel, Australia
SACD Prize: Take Shelter by Jeff Nichols, USA
ACID/CCAS Support: Las Acacias, Pablo Giorgelli, Argentina and Spain
OFAJ (Very) Young Critic Award: Las Acacias, Pablo Giorgelli, Argentina and Spain
Grand Rail d’Or: Las Acacias, Pablo Giorgelli, Argentina and Spain

Short Films
Best Short: Blue, Stephan Kang, New Zealand
Special Mention: Alexis Ivanovitch vous êtes mon héros, Guillaume Gouix, France
Discovery Award: Dimanches, Valérie Rosier, Belgium
Petit Rail d’Or: Junior, Julia Ducournau, France

Cinéfondation

First Prize: Der Brief (The Letter), Doroteya Droumeva, Germany,
Second Prize: Drari, Kamal Lazraq, France
Third Prize: Ya-Gan-Bi-Hang (Fly By Night), Son Tae-gyum, South Korea

To read award winners plus info about each film please go here.

Collateral Awards

FIPRESCI Awards
Main Competition: Le Havre, Aki Kaurismäki, Finland, France and Germany
Un Certain Regard: L'Exercice de l'Etat (The Minister), Pierre Schoeller, France
Semaine de la Critique: Take Shelter by Jeff Nichols, USA

Ecumenical Jury Award: This Must Be the Place, Paolo Sorrentino, Italy, France and Ireland
Special Mention: Le Havre, Aki Kaurismäki, Finland, France and Germany and Wo Hallah La Wen? (Where Do We Go Now?), Nadine Labaki, Lebanon and France

Prix de la Jeunesse: La Piel Que Habito (The Skin I Live In), Pedro Almodóvar, Spain
Prix du Jeune Regard: Martha Marcy May Marlene, Sean Durkin, USA

Queer Palm: Skoonheid (Beauty), Olivier Hermanus, South Africa, France and Germany (gay interest)

Prix François Chalais: Wo Hallah La Wen? (Where Do We Go Now?), Nadine Labaki, Lebanon and France
Special Mention: Bé Omid é Didar (Good Bye), Mohammad Rasoulof, Iran

Prix France Culture Cinema Award: Céline Sciamma and Alexandre Astruc
MEDIA European Talent Prize: Virág Zomborácz (Hungary) and Hanna Sköld (Sweden)
Chopard Newcomers: Astrid Bergès-Frisbey and Niels Schneider

Palm Dog: Uggy in The Artist
Jury Grand Prix: Laika in Le Havre

Le Festival de Cannes c'est fini ... à l’année prochaine!!!

2011 Cannes Queer Palm Award Winner

So perhaps my gaydar is not rusty (or should I say my movie gaydar?) as the ONLY movie that I discover as really having LGBT interest is the winner of the 2011 Queer Palm. Hmm, still have to watch films that were considered but from what I leaned from each film LGBT interest is marginal to story and/or is related to secondary characters.

There are two exceptions, one is the film that there was no available info or meaningful trailer, Michael, and it wasn't after was screened that we learned what was all about. Similar situation happened for the second, Snowtown. As we know now both films are not what we can call a positive representation of LGBT relations/lifestyle that awards similar to this one honor. Still, if now I think about the film that was honored last year, Kaboom -which I already saw- wasn't also a positive portrait ... so, don't really know what organizers honor with this award.

Nevertheless, this year the Queer Palm goes to a clearly gay interest film.

Skoonheid (Beauty), Olivier Hermanus, South Africa, France and Germany

Film was part of Cannes Official Selection and was screened in the Un Certain Regard section; I hope film is as interesting as what I learned promises because I'll watch film.


This year the Queer Palm site was sort of abandoned and better coverage came from French LGBT sites, I hope that this improves next year as I really want this award to consolidate as a desired award that filmmakers are interested in winning, just like happens with the Teddy. Last, today we know the winner but still have no clear idea about which films were considered for the award.

If you wish to read the news at a French site please go here.

Found the reason why movie was chosen:

“We have been deeply impressed by a movie which comes from a country of the “Cine-World” as [French, daily newspaper] Libération would say, a country which remains to be explored: South Africa. The movie takes place in a background which is the white, straight, religious middle class, that is the ruling class of the country. This is a portrayal of a man, a family man, being confronted to his profound desire and being unable to accept it. It’s a film about self-hatred and a film about homophobia, as well as a film dealing with racism, in a very subtle way. It is a true cinema film, a quite unpleasant one at first sight, and very disturbing, hard-hitting, radical. We are honored and delighted to award the 2011 Queer Palm to “Skoonheid” (Beauty) by Oliver Hermanus.”

To read at official site go here.

---//--

2011 Cannes Queer Palm Lineup

4/22/11

Perhaps my gaydar is rusty but I found one gay interest film in all the selections and was hoping that one film was lesbian interest but according to Queer Palm organizers there are ten films that can be considered for this award and unfortunately the one I was hoping in the lesbian interest is not there.

These are the films to be considered for the award during the second edition of the Queer Palm.

Busong (Palawan Fate), Auraeus Solito, Philippines
Chatrak (Mushrooms), Vimukthi Jayasundara, India and France
Des Jeunes Gens Mödernes, Jérôme de Missolz, France and Belgium
La Guerre est déclarée, Valérie Donzelli, France (maybe with lesbian interest??!! Yes in secondary characters)
La Piel Que Habito (The Skin I Live In), Pedro Almodóvar, Spain
My Little Princess, Eva Ionesco, France
Skoonheid, Olivier Hermanus, South Africa, France and Germany (gay interest)
Snowtown, Justin Kurzel, Australia
Walk away Renée, Jonathan Caouette, USA, France and Belgium (gay interest)

Also considering O Abismo Pratedo by Karim Aïnouz, Brazil but I imagine that only after watching film will confirm if is eligible or not. Also in the selection a film from the independent cinema selection (L’Acid): Gatos Viejos (Old Cats), Sebastian Silva and Pedro Peirano, Chile which is with lesbian interest!!!

To read about each movie you have to open the complete guide and browse it; guide is here available in French and English, but be careful as the English version has several mistakes.

Jury
President: Elisabeth Quin, Journalist/writer, France
Marie Comant, Journalist, France
Gerard Lefort, Film critic, France
Thomas Abeltshauser, Journalist/film critic, Germany
Fred Arends, Pink Screens Film Festival programmer/journalist/film critic, Belgium
Esther Cuénot, Co founder of Quinzaine de cinema LGBT or Cinemarges Festival, France
Roberto Schinardi, Journalist/film critic, Italy

To learn more about each of the juror go here.

With a few exceptions, the movie descriptions included in the guide are as ambiguous as the ones I have read, so the only way we could be sure is after someone has seen the films. Almodovar has been so mysterious about this movie that no one is really sure if movie will have some LGBT interest and just because is Almodovar I don’t want to assume that film will be eligible, but he’s one of my favorite directors so all his films are must be seen for me no matter the story. The same applies to Isabelle Huppert movies, so if My Little Princess has some LGBT interest will be a tiny plus but I’ll watch movie for her performance and the puzzling story.

Most interesting is that organizers are planning to have Le Marché Queer Palm to promote LGBT filmmakers and films. The market will not be open this year but already started planning for the 2012 edition, so if my filmmakers friends are interested go here to find the formats to be used to register feature films, short films, screenplays and/or synopsis (depending of the stage of your project).

Also on May 17 the film Illegal Love by Julie Gali will be screened to celebrate the International Day Against Homophobia. Closing ceremony will be on May 21st. Still pending the short films that are eligible and they have announced one juror for the short film competition: Joao Pedro Rodrigues; as soon as there more info available will modify post.

Honestly I’m still not sure how many films will be eligible for this year award but I hope that the Queer Palm second edition will be successful and most important, sets strong basis for improvement in future editions so eventually will become a respected and desired award, just like the Belinale’s Teddy Award.

Read synopsis, watch photos and some trailers @MOC

Day 11 at Cannes 2011

Tomorrow is the last day. Sigh. By now there are many press people that have seen the Palm d’Or winner as have seen the 20 films in competition, the question is which one will be chosen by the Jury? Have to admit that’s an eclectic jury, but today is the day that will try to guess with some objectivity. Still today is a great day as there are several films that absolutely are must be seen for me.

Main Competition

Another of the most awaited films by me, Bir Zamanlar Anadolu’da (Once Upon a Time in Anatolia) by one of my favorite directors, Nuri Bilge Ceylan. Have to accept that his previous film was less enjoyable than previous but from trailers –and first comments- film has to be visually stunning.

Not only has a Romanian director but also one actress I love to watch in the screen so is no surprise that La Source des Femmes (The Source) by Radu Mihaileanu is a must be seen movie for me.

Out of Competition

The red carpet will be tomorrow with the closing ceremony, but since today film will be screened and the photocall has amazing photos let’s talk today about Les Bien-aimés (The Beloved) by Christophe Honoré starring “La Reine” Catherine Deneuve, the divine Ludivine Sagnier, very hansome Louis Garrel, and looking each day more like his father, Chiara Mastroianni. Absolutely must be seen for me and wait will be very hard to endure.

Un Certain Regard

Since amazing Izgnanie (The Banishment) Adrei Zvygintsev became an almost perfect storyteller and filmmaker as film had great story with mesmerizing visuals; a while back learned that he has released a third film (first was amazing The Return), Elena and certainly was very glad that film became the closing film in this section as assures me that there is the possibility of faster movie release so the wait becomes shorter. I recognize his particular style in movie photos and let’s hope that story will be as engaging as in his previous two feature films.

Will publish awards before this post as I’m learning winners via twitter, but will wait for official news to publish post.

Cannes Classics

Today a medium-length film, Le Rideau Cramoisi (The Crimson Curtain) by Alexandre Astruc, a director that had a big influence on the Nouvelle Vague. Screening will have the presence of the director and great Anouk Aimée who is the star in film that no have not seen it but yes, of course will love to see film.

Short Films

Today the screening of all the shorts in competition, if you wish to learn the shorts please go here.

Not a bad day at all; yes the last day with film screenings is today, so this is my last daily post.  Tomorrow we will be anxiously waiting for the awards that hope to be able to follow live on TV and/or twitter.

News

Céline Sciamma and Alexandre Astruc were honored with the Prix France Culture Cinema 2011 in a ceremony at the Majestic Barrière. Awards were given by Yasmina Réza, president of this year edition. As noted above Astruc is also honored today at Cannes Classics and Sciamma is very well known in this blog for her extraordinary debut film Naissance des Pieuvres (Water Lilies) that was at 2007 Cannes in the Un Certain Regard, winning in 2008 the prestigious Prix Louis Delluc, and her second film released just last April in France, Tomboy was the winner of the 2011 Teddy Jury Award; obviously all her films were, are and will be must be seen for me.

My Best Guesses

Palm d’Or will go to… Hazanavicius OR Aki (the first if certain jury group prevails and the second if they’re really unanimous). But deep in my heart I wish this could be the Almodovar year, sigh.

But I know that movies by Hazanavicius, Kaurismäki, Dardenne Bros, Almodovar, and Sorrentino will get one of the many awards.

Photos

Today photos from films that are Must Be Seen for me: Les Bien-aimés, La Source des Femmes, and Nuri Bilge Ceylan's Bir Zamanlar Anadolu’da

64th Festival de Cannes Un Certain Regard Award Winners

I’m starting post with info from twitter that’s just pouring, but will not publish until awards are posted at the official site; still I’m getting info from the official festival twitter feed.

Here are the winners that Emir Kusturica and his jury selected for this year.

Un Certain Regard Prize (tie):
아리랑 Arirang, Kim ki-duk, South Korea
Halt Auf Freier Strecke (Stopped on Track), Andreas Dresen, Germany

Jury Prize: Elena, Andrei Zvyagintsev, Russia

Best Director: Mohammad Rasoulof for Bé Omid é Didar (Good Bye)

FIPRESCI Award: L'Exercice de l'Etat (The Minister), Pierre Schoeller, France

To read official press release please go here.Very pleased with winners as almost all -except one- are films that I have to watch and definitively will watch.

The Un Certain Regard Award Winners and the Jury

Day 10 at Cannes 2011

As you’ll notice the feeling that Cannes is fading away is not just a feeling as not only sections are announcing their awards, but also there are fewer films to watch.

Main Competition

Paolo Sorrentino became a must be seen director for me since I saw his amazing movie Il Divo and I’m looking forward to see This Must Be The Place as I believe his casting choice is extraordinary for a first film in the English language, the story is intriguing and with his style film has to be sensational. I hope I’m right. First comments tend to be positive.

Photocall with Sean, Judd Hirsh, and others I’m not really familiar with but photographer’s call for Sean and Paolo. Interview only Sean and Paolo. Very interesting short interview. Press conference. When they meet Sean said Any time, Any Where, Any Script… he got the script and said yes… all this because Sean saw Il Divo at Cannes… moderator said “that’s strange” yes and stranger if is Sean Penn but I definitively agree, Sorrentino is a very special director. A very inappropriate question to Sean about Scarlett. Unfortunately question to Sorrentino about story, volume goes to off. “stunning images” (I knew it). Nice. Red carpet has cast and crew, all videos are okay, short and serious. Oops! Just learned that the young woman is Bono’s daughter.

After what I learned about movie today, have to add Sean Penn to my Best Actor guess, he’s a contender.

From trailers and synopsis I don’t think will watch Drive by Nicolas Winding Refn as movie story surely will not be pleasant for me; but you can never say with a Cannes Official Selection film as always end up watching all.

Out of Competition

Two films. First, In Film Nist (This is Not A Film) by Jafar Panahi and Mojtaba Mirtahmab and narrates their waiting for the verdict of the Court of Appeal, thus giving a snapshot of the situation faced by Iranian cinema.

As part of the tribute to Tunisia, the documentary La Khaoufa Baada Al’yaoum (No More Fear) by Mourad Ben Cheick, is a first film and competes for the Camera d’Or. Film is a testimonial of the director’s engagement in the struggle for freedom in his country.

Un Certain Regard

The only new film is Okhotnik (The Hunter) by Bakur Bakuradze as the other screenings are the reprise of The Murderer and Oslo, 31 August. Yes, I’m interested in watching Bakuradze’s second film and still waiting to be able to watch his first.

Cannes Classics

Today the 1961 film L’Assassino (The Assassin) by Elio Petri and starring none other than dearest Marcello Mastroianni, don’t recall having watch this movie, but I do remember watching many Mastroianni’s films, so maybe I did. Still hope a DVD becomes available with the restored version.

Also today, the Cinema Masterclass by Malcom McDowell presented by Michel Ciment.

There is a surprise film screened tomorrow, so we will be checking to find what film was chosen.

Cinéfondation

Today screening of the last program and in late afternoon is the awards ceremony, so today another festival section closes. Program 4 screens the following short films: Cagey Tigers by Aramisova, A Viagem (The Trip) by Simão Cayatte, La Fiesta de Casamiento (The Wedding Party) by Gastón Margolin and Martín Morgenfeld, and Der Brief (The Letter) by Doroteya Droumeva.

Awards are already announced so will publish post before this one.

Quinzaine

Today is the screening of the three short programs and in the early night, the award ceremony plus the screening of the closing film Les Géants by Bouli Lanners –that probably will watch eventually. If you wish to check the fourteen (14) short films screened in this section please go here and browse down to Short Films.

The section already announced the award winners, will post before posting this one.

ACID

Today the last film, Black Blood by Miayan Zhang as tomorrow there will reprises of two films; I’m very curious about this Chinese/French production as story suggest that could be interesting plus visuals look fantastic.

The ACID Cannes program is also shown in the fall in Paris. In their schedule don’t have the date of their award ceremony which makes me wonder if they give any prizes; still will be checking to confirm.

News

Uma Thurman excused herself from the film festival today to attend a family funeral in Monaco; she will be back for the end of the competition as “she wishes to keep her commitments to the festival, despite the circumstances”.

As press says, most buyers have left Cannes as well as many newsmen but all over the net and in many languages media is talking about the huge success of Le Marché this year as many films found financing and as many found distributors for several or world markets. American companies did a lot of selling and buying, but many other nationalities did the same. Many of the films in the selection found buyers but BIG sales come from those that were promoted at Le Marché. Like an UK article says: Crisis, what crisis? This year Cannes showed no signs of crisis, not at Le Marché nor with the great Selection that is keeping us immersed into the Cannes world. What a difference a year makes.

Not-So-Serious News

Remember I told you about the amfAR Cinema Against AIDS event? Well the auction raised US$10 million dollars in a few hours; top bid was for the opportunity to play tennis with Prince Albert II of Monaco for which a bidder paid 500,000 euros; most interesting bid was the opportunity to walk the red carpet at next year Golden Globes with Uma Thurman. Watching events photos only to discover the many big name celebrities that attended the gala, but most impressive was to see Boy George!

Sorrentino’s film attracted many to the red carpet as I’m watching some nice photos of Gwen Stefani, Claudia Schiffer, always crazy Courtney Love, and if you wonder who the woman with Sean was, well is Roberta Armani.

Beautiful photos of Zhang Ziyi at the Majestic Hotel; have to find which movie she’s promoting.

Last, Marion Cotillard gave birth yesterday to Marcel, congratulations.

The Photo

Today only a photo of Isabelle Huppert at The Little Princess red carpet.

43rd Quinzaine des Réalisateurs Award Winners

A few moments ago the parallel section had the award ceremony where the following awards were presented to winners.

Label Europa Cinemas: Atmen (Breathing), Karl Markovics, Austria

Art Cinema Award: Les Géants, Bouli Lanners, Belgium, France and Luxembourg

Prix SACD: Les Géants, Bouli Lanners, Belgium, France and Luxembourg

Séance "Coup de coeur": Play, Ruben Östlund, Sweden, France and Denmark

To read announcement at official site go here where you can also check info about film and the directors.

The Closing Ceremony

Clôture 2011 from Quinzaine des Réalisateurs .

64th Festival de Cannes Cinéfondation Award Winners

A few minutes ago, the Cinéfondation and Short Films Jury presided by Michel Gondry awarded the three prizes that the section gives to three short films and here they are.

First Prize: Der Brief (The Letter), Doroteya Droumeva, Germany, 30’ – School: German Film and Television Academy Berlin

Second Prize: Drari, Kamal Lazraq, France, 39’ - School: La Fémis, France

Third Prize: Ya-Gan-Bi-Hang (Fly By Night), Son Tae-gyum, South Korea, 21’ - School: Chung-ang University, South Korea

Can’t help but be glad that a female director got the top award –and top money prize- that definitively will help this “filmmaker of the future” to continue her work as a student and forward. Her short definitively is must be seen for me. Great! But also second and third prize seems to be shorts worth watching.

To read press release pleas go here.

Meet the Award Winner Director

50th Semaine de la Critique Award Winners

Tonight the parallel section of the Cannes festival had the first award ceremony in the 2011 fest and here are the winners.

Feature Films

Grand Prize: Take Shelter by Jeff Nichols, USA

Special Mention of the President: Snowtown by Justin Kurzel, Australia

SACD Prize: Take Shelter by Jeff Nichols, USA

ACID/CCAS Support: Las Acacias, Pablo Giorgelli, Argentina and Spain

OFAJ (Very) Young Critic Award: Las Acacias, Pablo Giorgelli, Argentina and Spain

FIPRESCI Award: Take Shelter by Jeff Nichols, USA

Grand Rail d'Or: Las Acacias, Pablo Giorgelli, Argentina and Spain

Short Films

Best Short: Blue, Stephan Kang, New Zealand
Discovery Award: Dimanches, Valérie Rosier, Belgium
Special Mention: Alexis Ivanovitch vous êtes mon héros, Guillaume Gouix, France
Petit Rail d'Or: : Junior, Julia Ducournau, France

To read winners at the official site please go here.  Can deny my surprise that a film that calls my attention won the top award, but can’t forget that most of the films in this section are always very strange for my taste. Let’s hope that since top winner is an American film will not be that much strange.

Let's close post with visually magnificent photo from the top winner Take Shelter.

Day 9 at Cannes 2011

Whatever is happening at the festival, today still is Pedro’s day for me, so let’s hope Almodóvar amuses us and facilitates us to continue enjoying the festival.

Main Competition

Should admit that from all the in competition films the one that I’m REALLY dying to watch is Pedro Almodóvar’s La Piel Que Habito (The Skin I Live In) even when I didn’t enjoyed much his last movie as was perhaps too mainstream for my taste; so I really hope that with this movie he goes back to be the director we learned to love thanks to his most spectacular oeuvre during several decades. Well, positive comments in several languages, including one that made me laugh loud and I share: “just saw the Almodovar movie, understood half of it, it was incredible! (LOL!) … seems critics were divided (what’s new?) … that’s why I like to read “normal” people comments (lol!). Many are wondering about film genre (lol! who cares?!!), one describes it as “art house camp” … oh gosh, so funny.

Photocall starts with the very informal group and many photographers yelling Antonio, Elena and Maria!!! Lol! Is Marisa! Pedro! Aqui, por aqui! Lots of Spanish… and one woman very loud calling Antonio in English. Wish could hear what Pedro is telling Antonio, but is really noisy. Love it, started to laugh! Pedro and Antonio very close… “la ultima” is with Pedro. Funny and very noisy.

Oh, Pedro speaking French… ha, ha but “gladly” turns to Spanish and to praise Antonio… “a continuation of Matame” hmm… honestly, highly prefer Antonio Baderas in Spanish-speaking films and more with Almodovar… Antonio is analyzing how Pedro has changed “se ha depurado” (??!!!) … too many questions to Antonio and he’s too serious … grrr too much translation (to French)… “no se parece a lo que he hecho antes con Antonio ni con Marisa” (meaning: movie is different to what he has done before with Antonio and Marisa” … gosh is awful when you understand both languages (and know that they understand French) … lol! but interview is too serious, pity… finally, Elena! She’s too sweet… oh! (lol!) No idea who the young actor is… (OMG translator translates everything!) Blanca looks nice. I’m sooo glad that there was no question about film, but wanted more Pedro and less Antonio! Interview is okay, but too serious; hope press conference is juicier…

Press conference with “people” taking photos with their phones (???) strange… “entendido”, see of course he understands French … oh, no! spoilers… but I have to watch! Seems is going to be a serious press conference… Pedro speaking English … gosh learning too much about the story (grr…) “una familia muy salvaje … nothing similar to Spanish families” gee, Pedro helps the translation… wish there was NO translation… patience! Oh! too much info… Pedro is losing his hair… interesting what Pedro says about the genre (thriller)… Fritz Lang, his temptation… he thought about doing movie in black/white and silent but desisted… volume to off while translation (had enough)… lol! they look as bored as me… “after all the end is the old story about survival” … Los Ojos sin Rostro his reference … great no gore… he plays with some genres thriller, fantasy, sort of science fiction but not really as everything shown can be done in real life … even in a Spanish research facility where they’re doing artificial skin … unfortunately is a fact, press conference is too serious, pity … but at least questions go to Pedro. Ha, ha, Pedro you did Frankenstein… lol! let’s wait for the answer… the answer is: yes… “pero el cuerpo ya tiene vida” (but the body is already alive) LOL! Finally one question to Antonio, that have no idea how he will answer as is kind of dumb (about not showing his beautiful smile in this film)… he, he his voice sounds so good in Spanish (is not the same as when he speaks English –obviously) … he chose to give a smart answer to a dumb question… “horror frio” (like the type of horror) … yes getting too much info about the movie but what I’ve heard up-to-this moment makes movie more attractive to me, good! (volume to off in all very long translations, woman talks too much, she’s literal must be a very good simultaneous translator) ah! Brazilian music! Oh! Pelo Amor de Amar … Elena do Lima (?) … to tell my fascination for Brazilian music (mine too) … serious Antonio gets emotional –with words- about going back to Almodovar, to Spanish cinema, to his roots, to his home … (me, I’m glad to be able to watch Antonio in a film that hopefully will enjoy) … gosh Antonio has a very readable body language, you almost know what he’s thinking about question just by watching how he moves and his face expressions … Pedro too much info … but press conference is about to be over… too serious for my expectations but was okay, interesting. Hope that by now red carpet video is there… yes it is.

Red carpet starts with Malcom McDowell as the Clockwork Orange is also screened at the palais; Emmanuel Devos and the cast of Pourquoi tu pleures? also screened at the palais –in a different screen of course. Oh! Rossi de Palma and what I’m sure is a cross dresser, lol! probably her impersonator… fun. Antonio signing autographs with non-crazy or noisy fans. Pedro is interviewed and the translator is there too (very elegant, indeed, lol!). Yes movie is different, but is me and audiences will recognize me. Antonio in English… Elena speaking French (lol!) … oh gosh, Elena and Almodovar has to be great… Elena speaking English (lol!) … then French … then Spanish … so European, love it!! Marisa… no interview. Antonio fooling around. That’s what previous videos lack and I know they can do. Jean Paul Gaultier is there too! He did the costumes ah! I can imagine how costumes will look. Red carpet was short but was okay.

Ichimei (Hara-Kiri: Death of a Samurai) by Takashi Miike the 3D remake of Seppuku (Harakiri) by Masaki Kobayashi, which took the Cannes Special Jury prize in 1963. For Cannes history annals the fact that Miike becomes the first director of a 3D film to contest the Palme d’Or. I’m really torn as I didn’t enjoyed much his previous film 13 Assassins, but maybe will give movie a try eventually. Film photocall, Miike’s interview, and press conference are available, I watched a little of each but find it not entertaining and too many translations going on.

Un Certain Regard

Today L’Exercise de l’Etat (The Minister) by Pierre Schoeller; his second movie after Versailles and one that plays with the exercise of power and words as an instrument of power; of course will watch.

Also, The Day He Arrives by Hong Sangsoo who as we know won last year the section Jury prize with Ha Ha Ha that been dubious if I should watch or not. But his new film is in black and white and is not a comedy, so maybe I should start watching his work with this movie.

Cannes Classics

When I saw A Clockwork Orange I was truly shocked by what I saw in the screen, more specifically by how it was presented; but from that moment on Stanley Kubrick became one of my favorite directors. Yes I liked a lot 2001: A Space Odyssey, Dr. Strangelove, Lolita, plus other older films; but A Clockwork Orange was the one that really got me into Kubrick. So today the section screens a restored version of this so-famous movie that if you haven’t seen it I suggest you do, but wonder if you ever will be able to experience what many viewers –including me- experienced in the late 60’s or early 70s when movie was released and slowly-very slowly became available all over the world, as in those days movie was “radical” but today I know is not anymore. This is one movie that I have seen once and no one will make me watch it twice as don’t want to spoil my memories and the amazing experience that I had back then. Today screening will be attended by Malcom McDowell and the director’s wife, Christiane Kubrick.

Also today Il Etait une fois… Orange Mecanique (Once Upon a Time… A Clockwork Orange) by Antoine de Gaudemar.

Tonight the screening of 1952 La Macchina Ammazzacattivi by Roberto Rossellini, another of my favorite Italian master filmmakers and undisputed master of neo-realism; film was his first comedy.

Also within the section Egypt, Invited Coutry, 1971 Al Bostagui by Hussein Kamal which is perhaps the lighter film screened in the section as is about a postman who opens people’s mail and learns of a love story.

Cinéma de la Plage

Today a film from the Egypt, Invited Country, Le Cri d’une fourmi (Ant Scream), Sameh Abdel Aziz which closes the section published program as tomorrow there will be a reprise and on Saturday a “surprise film”. Film is described as “a funny, quirky film about the beginnings of the Egyptian revolution that tells the story of Gouda’s difficult return to Egypt and when he’s asked to “live like an ant”.


Cinéfondation

Two programs today. First Program 2 with the following short films: Ya-Gan-Bi-Hang (Fly by Night) by Son Tae-gyum, Big Muddy by Jefferson Moneo, Befetach Beity (On My Doorstep) by Anat Costi, and Drari by Kamal Lazraq.

Second, Program 3 with the following short films: Duelo Antes Da Noite (Duel Before Nightfall) by Alice Furtado, Bento Monogatari (Lunchbox Story) by Pieter Dirkx, Der Wechselbalg (Changeling) by Maria Steinmetz, and Al Martha Lauf (Marta Must Fly) by Ma’ayan Rypp.

Quinzaine

Today three films. First, Atmen (Breathing) by Karl Markovics with a story that doesn’t call my attention but I’m curious about reactions to film, so will be reading them after the screening.

Second, Après le sud (Heat Wave) by Jean-Jacques Jauffret that calls my attention because film “refined and minimalistic mise en scène”, the few visuals I have seen, and film clip has marvelous silence.

Last, a film that I’m very curious as from what I have seen, seems has amazing compositions and visuals, but Sur la planche by Leïla Kilani story seems the kind of story I do enjoy as tells the story of a foursome “four girls on the run, made of love, choices, shattered destinies” the protagonists of a film noir under the conflicting auspices of the dream of globalization.

Semaine

If you still don’t feel that the festival is coming to end, then consider that today this section closes with the Award Ceremony followed by the closing film: Pouquoi tu pleures? by Katia Lewkowicz, that surely will watch, and tomorrow there will screenings of the awarded films with the Soutien ACID/CCAS award, Prix SACD, Grand Prix, Prix Decouverte, and Grand Prix Canal+. So, later expect the first post with the first awards in this year festival.

In the late morning there will be the screening of the short films in the NISI MASA Istanbul Express with the following 8 films produced in the in the framework of the Istanbul Express project where 50 young filmmakers set off from San Sebastian in Spain crossing Europe by train and making itinerant documentaries during one month. If you wish to learn the films and/or learn more about the project please go here.

ACID

Today Goodnight Nobody by Jacqueline Zünd that calls my attention as is the tales of four insomniacs; before feature screening, two short films: Deep Inside by Marc Gibaja and Scenes de Vestiaire by Frédéric Malègue.

Also today and as a Special Screening, Léa by Bruno Rolland another film that calls my attention for Lea’s story.

Serious News

Decided to share the following news with you that are copy/paste from Cannes official site. First is the May 18 press release.

“The Festival de Cannes was disturbed about the statements made by Lars von Trier in his press conference this morning in Cannes. Therefore the Festival asked him to provide an explanation for his comments. The director states that he let himself be egged on by a provocation. He presents his apology. The direction of the Festival acknowledges this and is passing on Lars von Trier’s apology. The Festival is adamant that it would never allow the event to become the forum for such pronouncements on such subjects.”

Second, the Statement from the Board of Directors of the Festival de Cannes released on May 19.

“The Festival de Cannes provides artists from around the world with an exceptional forum to present their works and defend freedom of expression and creation. The Festival’s Board of Directors, which held an extraordinary meeting this Thursday 19 May 2011, profoundly regrets that this forum has been used by Lars Von Trier to express comments that are unacceptable, intolerable, and contrary to the ideals of humanity and generosity that preside over the very existence of the Festival. The Board of Directors firmly condemns these comments and declares Lars Von Trier a persona non grata at the Festival de Cannes, with effect immediately.”

I started to watch Melancholia’s red carpet where von Trier says he was behaving very Danish and was joking but decided to stop watching as really don’t like what’s happening; even if didn’t watch a thing –and now von Triers words are in videos that populate the net, but won’t watch them- I don’t like what Trier said (even if it was a joke) but neither like festival authorities and mass media reactions.

Still one thing is true, when Cannes starts many are predicting, speculating and waiting for the “Festival Scandal” and even if all were wrong in their predictions, now they have the scandal they all wished for so they can rejoice spreading the word for a while, as in a few months everything will be forgotten and some will start the Cannes scandal cycle again. Sigh.

News

Thanks to my watching Cannes photos pastime discovered a photocall for the film Les Hommes Libres (Free Men) starring none other than Tahar Rahim (remember him from A Prophet?) by Ismael Ferroukhi, will try to find more info about this WWII movie. Okay the film is Cannes in the “School Screenings” a section aimed at secondary pupils but it’s incomprehensible how it ended in that section.

Not-So-Serious News

I’m sure that everyone that’s still in Cannes will attend the screening of Almodovar’s film and first red carpet photos confirm what I suspected. OMG! love Elena’s shoes! Lol! But her dress looks like a blouse I used to have. Pedro’s shoes are colorful. Yes I’m watching photos as the last thing I’ll do today before publishing will be watching everything Almodovar! Think that I haven’t mention before photographer’s fascination with shoes; you have no idea of how many shoes I have been able to see in hundreds of photos, lol! Okay, I’m starting to watch cast photos from red carpet, hope soon video is up at official site. LOL! Photos are funny! Excellent! I’m starting to melt down into my “Almodovar mode”.

Today we can see the photos of amfAR Cinema Against AIDS Gala Party with attendees like Ivan Trump, Mischa Barton (looking very old but better than in previous photos), Michelle Rodriguez, Kenneth Cole, Fabiola Beracasa (lol!), Rosario Dawson, Brooke Shields, Sarah Ferguson, Freida Pinto, Dev Patel, etc.

Tonight the Cinema for Peace event honored Sean Penn career, one of the speeches was by a very smiling Leonardo DiCaprio, photos are all over the net. On other news American press, The Hollywood Reporter, honored Jodie Foster with an exclusive cocktail party where she was recognized for her “multifaceted career”.

My First Guess

As Cannes starts to fade and with –according to me- only two strong contenders not screened yet, here is my first guest for films that will get honors – in no particular order: The Artist and Le Havre seem to be strong contenders to grand prize, but also Almodovar’s La Piel Que Habito. Also could become contenders’ films by Sorrentino and Nuri Bilge Ceylan. My prediction could mean that the Palme d’Or will stay in Europe.

Best actress: Tilda Swinton, Marisa Paredes or Elena Anaya, Cecile de France, someone from Polisse, and maybe a newcomer.
Best actor: Antonio Banderas, Sean Penn, and the rest will be French actors…

Other awards: L’Apollonide (could get cinematography),
FIPRESCI Award could go to Michael

Still too early for crystal ball to be fogless but on Friday things will start to get clearer.

Today Photos

As today is Pedro’s day, here are only Pedro’s film photos… plus Rossi de Palma in La Piel Que Habito red carpet.