Americans seem to influence everything. Whether that’s a good thing or not is certainly a matter of opinion, but at the renowned Cannes Film Festival this year, there is quite a lot of representation for the U.S. among the films. Despite the heartache felt throughout Europe due to debt problems in Greece, Spain, Italy and elsewhere throughout the continent, the celebration in France will go on unimpeded. Cannes is basically the biggest deal in the movie world outside the Oscars.
The 65th Canned Film Festival starts today and will pay as much attention to movie directors as to the actors. This year, there are a total of 22 films in competition, and more American films than usual. Among them are Wes Anderson’s "Moonrise Kingdom," David Cronenberg’s "Cosmopolis," John Hillcoat’s "Lawless" and Andrew Dominick’s "Killing Them Softly." Others include "Mud" by Jeff Nichols and "The Paperboy" by "Precious" director Lee Daniels.
Notes Daniels, a veteran at Cannes, "We get so caught up, as Americans, in a specific type of film experience that we forget that this is a small fraction of what cinema is about. It’s OK to be odd. I remember when I was doing ‘Precious,’ everybody looking at me and scratching their heads like, ‘What are you doing, really?’ I remember feeling that I was odd, and I don’t feel odd at Cannes." Cannes’ artistic director Thierry Fremaux indcated in a statement at one point that American cinema is "back in full force," a point that seems to be echoed among other insiders and in the fact that so many American films are at Cannes this year.
The 65th Canned Film Festival starts today and will pay as much attention to movie directors as to the actors. This year, there are a total of 22 films in competition, and more American films than usual. Among them are Wes Anderson’s "Moonrise Kingdom," David Cronenberg’s "Cosmopolis," John Hillcoat’s "Lawless" and Andrew Dominick’s "Killing Them Softly." Others include "Mud" by Jeff Nichols and "The Paperboy" by "Precious" director Lee Daniels.
Notes Daniels, a veteran at Cannes, "We get so caught up, as Americans, in a specific type of film experience that we forget that this is a small fraction of what cinema is about. It’s OK to be odd. I remember when I was doing ‘Precious,’ everybody looking at me and scratching their heads like, ‘What are you doing, really?’ I remember feeling that I was odd, and I don’t feel odd at Cannes." Cannes’ artistic director Thierry Fremaux indcated in a statement at one point that American cinema is "back in full force," a point that seems to be echoed among other insiders and in the fact that so many American films are at Cannes this year.
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