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Nichols premieres ‘Mud’ in Cannes
Austin director Jeff Nichols got a warm reception Saturday during the premiere of his new movie “Mud” at the Cannes Film Festival. The 33-year-old who grew up in Arkansas is among the youngest directors ever to compete for the festival’s coveted Palme d’Or, and the theater was packed as numerous critics marveled over his rapid rise, one year after winning the sidebar called Critics Week with “Take Shelter.”
Austin’s Matthew McConaughey has one of his meatiest roles in years as a man on the run after killing a guy who beat up his lifelong love, Juniper (Reese Witherspoon). He’s hiding out on an island in the middle of the Mississippi River when he’s discovered by two 14-year-old boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland). Sheridan, who starred in Austin director Terrence Malick’s “The Tree of Life,” lives in the East Texas town of Elkhart, and Lofland is a native of Arkansas, where the movie was filmed.
At first, the two boys are a bit wary of McConaughey’s Mud, partly because he carries a gun in his pants — and because he has taken up residence in a boat that has been sitting in a tree after a flood. The boys claim the boat as their own, but Mud sees it as a way to escape the island.
But gradually, Ellis bonds with Mud, who holds out a dream of being reunited with Juniper and escaping down the Mississippi to the Gulf. He asks Ellis and Neckbone to take letters to Juniper to plot the details of the escape.
Nichols has described “Mud” as a story about love. Ellis has very few good examples of love: His parents, who live in a floating home on the river’s edge, are about to be divorced; Ellis’ courting of a local girl falls flat; and it looks like all of Mud’s troubles stem from his love of Juniper. But Mud keeps holding out hope that true love will triumph, and Ellis begins to see Mud as a symbol of romantic possibilities.
As Ellis and Neckbone, both Sheridan and Lofland are naturally funny. And even though they are not trained actors, they have an easy onscreen presence.
Witherspoon’s role is minimal, but Nichols says he wanted someone who could wow audiences when Juniper is first seen, since Mud has been singing her praises throughout the movie.
As with Nichols’ earlier films, there’s a strong sense of place in “Mud,” and the director/screenwriter says that he drew lots of inspiration from the stories of Mark Twain and from his native South. “Twain was able to encapsulate what it was like to be a child growing up on the Mississippi River,” Nichols said.
There are multiple, scenic views of sunsets along the river as well as closeups of native flora — and snakes. “I like lingering on nature,” said Nichols. “It feels honest to me.”
Nichols said he was trying to portray a “dying way of life” in the South, where regional accents are being quickly homogenized and where people are being forced off of riverboat homes. “I wanted to capture a snapshot of something that won’t be there forever.”
“Mud” was the last film to screen in the competition for the Palme d’Or. The top prize, as well as others, will be handed out Sunday. Nichols has a shot, perhaps for his screenplay, which seems an effortless blending of multiple story lines. Michael Haneke’s “Amour” appears to be the favorite for the Palme, but many French critics are lobbying heavily for Leos Carax’s offbeat homage to cinema, “Holy Motors.”
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‘Cosmopolis’ in Cannes, and DeLillo, too
David Cronenberg takes his customarily spartan, interior approach in his adaptation of the 2003 Don DeLillo novel “Cosmopolis,” and it works.
The Canadian director confines almost all of the action inside a limousine that’s making its way through Manhattan and carrying Eric Parker (Robert Pattinson), a self-styled master of the universe who has made a fortune on Wall Street.
And in keeping with the novel, the interior of the limousine is completely silent. No soundtrack, no background noises, just Eric talking with various aides who enter and leave the limousine along the route to a barbershop.
In effect, these encounters work as mini-movies, as Eric discusses philosophy with an adviser (Samantha Morton), as well as other matters with other advisers.
Cronenberg, who adapted the DeLillo novel for the screen in six days, says he wanted to preserve the novel’s dialogue, and this strategy leads to extended verbal exchanges, all of which help create an artificial feeling to the film. But that’s part of the movie’s point. Eric has created an isolated environment inside his limousine and separated himself from the world. Those who wish to talk with him must enter his world. And this even applies to his doctor, who makes a daily visit to Eric to perform a physical in the limousine.
But this arch setup that features sparkling dialogue demands a sparkling delivery, and Pattinson is surprisingly flat and passive as the Wall Street wizard. His dialogue seems like it could come from a Shakespearean tragedy, but Pattinson doesn’t enunciate, and doesn’t capture the spirt that DeLillo and Cronenberg have created for the character.
Such assessments are not likely to endear critics to the many fans of Pattinson, who rose to fame in the “Twilight” series. But Pattinson doesn’t fit the part verbally — or even physically. In the book, Eric has an “overdeveloped chest” and is portrayed as virile and physically powerful. But Pattinson maintains his wan “Twilight” look throughout “Cosmopolis,” even during several sexual encounters.
DeLillo, who appeared with the stars and director at a press conference following Friday morning’s “Cosmopolis” screen in Cannes, said he conceived of the novel after noticing a sudden appearance on the streets of New York of numerous stretch limousines, and then started thinking of who would be in the limos.
This led to the creation of Eric Parker, who has market computers and other amenities lining the sides of his limo. “I was thinking of Eric Parker living his entire life in one day,” DeLillo said. “So there is a sense of going back tho the beginnings,” which leads to Eric’s decision to get a haircut at the shop where his father took him as a child. “Everything builds toward that simple personal goal,” DeLillo said.
But as DeLillo fans know, the journey to the barbershop is filled with interruptions, assassination threats and a funeral. And along the way, Eric loses billions of dollars in currency trading, refusing to recognize the asymmetrical price fluctuations, just as he refuses to deal with the diagnosis from his doctor that he has an asymmetrical prostate. (Yes, the prostate exam is performed in the limo, as Eric bends over and talks to a female aide — one of the weirdest scenes at this year’s festival.)
Despite Pattinson’s performance, “Cosmopolis” could be a contender for the Palme d’Or. If it wins, the Palme would be a first for a Canadian director.
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‘The Paperboy’ in Cannes: Early impressions
U.S. director Lee Daniels, who was widely hailed for “Precious,” solidifies his reputation with “The Paperboy,” which premiered Thursday morning in Cannes.
It’s an old-fashioned noir, where nothing is as it first seems, and Daniels masterfully withholds information and then teases the audience to follow him to the truth.
This is especially true for the character of Ward (Matthew McConaughey), an investigative reporter who returns to his Florida hometown to uncover evidence that will free a convict named Hillary (John Cusack) on death row for the murder of a sheriff.
It’s a breakthrough performance for McConaughey, who isn’t accustomed to starring in art films that play in Cannes. But he holds his own against a powerful cast, including a stunning Nicole Kidman and a highly eroticized Zac Efron.
As Ward, McConaughey is Efron’s older brother. And Efron’s character Jack seems like he has never grown up. He lounges around the house in his undershorts, and he doesn’t even bother to cover up when the housekeeper (Macy Gray) comes into his bedroom to straighten up.
Efron also has multiple shirtless scenes as he swims in a pool, swims in the ocean and just walks around the house. All of this disrobing caused the moderator of a press conference panel to raise the question of whether Efron was being eroticized.
Efron tried to sidetrack the question by saying he was honored to be in the film, but he was interrupted by Daniels, who exclaimed: “He’s good-looking! The camera can’t help but love him. And I’m gay, so what do you expect?”
Daniels, however, knows the heterosexual ropes as well. Nicole Kidman plays Charlotte, a woman who writes to men on death row and becomes convinced that Cusack’s Hillary is innocent. In fact, she has become romantically involved with Hillary through highly sexual letter exchanges. So she’s the one behind the efforts to get Ward to uncover the truth about the case.
In one scene, Charlotte accompanies Ward and Jack to the prison, where she meets Hillary for the first time. And let’s just say there’s a “Basic Instinct” moment that tops the Sharon Stone stunt.
A key part of the plot, however, deals with Efron’s Jack falling for Charlotte as well. It might seem odd, since Jack comes from a respectably family and Charlotte seems like she has been around the block one time too many. But the attraction is there, and Daniels plays with these hormonal instincts all the way through “The Paperboy.”
As Charlotte, Kidman comes off perfectly and almost steals the movie. She said Thursday afternoon that she came up with her own look after being told by Daniels that the production didn’t have enough money for hair stylists and wardrobe assistants. Who knew that Kidman, the ultimate glamour queen, could get so down and dirty?
From left, actors Matthew McConaughey, director Lee Daniels, actors Nicole Kidman, Zac Efron and David Oyelowo arrive for the screening of The Paperboy at the 65th international film festival, in Cannes, southern France, Thursday, May 24, 2012. (AP Photo/Francois Mori)
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‘Post Tenabras Lux’ explained, sort of
Mexican director Carlos Reygadas declined Thursday to summarize his new impressionistic film “Post Tenabras Lux” during a Cannes press conference.
“I’m sure lots of the press won’t like my film,” he said, “but it’s not my purpose to please as many people as possible.”
Instead, he said, “I try to share what I feel, think and imagine.”
If that’s the case, then Reygadas has lots of anxiety, coupled with a contradictory view of nature’s awe.
He begins the film with a scene that’s both joyful and fearful. A young girl, perhaps 2 or 3 years old, wanders a pasture that’s set against a Mexican mountain range. She looks beautiful, as does the setting, but something ominous is going on. Clouds are forming and she is heading into a herd of cattle as various herding dogs chase the cattle to a nearly holding area. She mutters “cow” and “dog,” as if these were her first words, and it’s clear that she’s oblivious to the danger.
The scene is shot on 35 millimeter film, with a lens that distorts the edges of the frame, so that the girl’s figure can double when she’s on the edges of the film. The framing also brings a more vertical look that helps emphasize the towering mountains and her small stature.
All of this is part of Reygadas’ art, and while he declines to explain his non-linear narrative, it becomes clear that the director is sharing emotions and feelings from the present and the past.
Some of those emotions reflect anxieties about the beauty of Mexico’s landscape and the haphazard rape of the environment. In one section, for instance, a man with a chainsaw wanders through the forest and starts cutting at trees. He’s not harvesting them for lumber. He’s just harming them to the point that they’ll eventually die and crash in the forest.
In another key scene, a red devil appears at a home and carries a toolbox as he searches various rooms and a young boy watches. Again, Reygadas’ anxieties come to the fore. And in this case, he said, he was remembering his childhood when he would have nightmares about the devil being in the house. As it turns out, the two scenes featuring the devil were shot in Reygadas’ childhood home, and the toolbox that the devil carries was actually that of his father.
Reygadas also declined to discuss a rather startling scene at a steam bath where a husband watches as his wife engages in sex with other men. Reygadas merely said that he had heard of such places, but once again, it’s hard not to think about the director’s possible sexual anxieties or feelings of inadequacy — a conclusion he might dispute.
The dreamlike approach of the film comes to a climax in a later scene where a man literally loses his head. Reygadas told reporters that this is a common image in Mexico, which is what he called the beheading capital of the world. And once again, it’s hard not to draw paralllels between the character and the current political situation in Mexico.
There’s also a segment discussing Russian literature. And by the end of the film, one of the main characters is speaking words that allude to a key character in Tolstoy’s “War and Peace.”
If all of this sounds like — pardon the pun — heady stuff, well, it is. “The film comes from my subconscious, and I never felt like I had to make it rational,” he said.
Reygadas faced repeated questions about the film’s marketability and the possibility of ever finding an audience. But the director didn’t feel the need to explain anything to critics in Cannes. “Arthouse films are like literature. You don’t go to a literary conference to talk about trashy books,” he said. “It’s the same for films (in Cannes).”
That’s probably why Reygadas’ new movie is so interesting to some and so off-putting to others.
From left, director Carlos Reygadas, actors Nathalia Acevedo and Adolfo Jimenez Castro pose during a photo call for Post Tenebras Lux at the 65th international film festival, in Cannes, southern France, Thursday, May 24, 2012. (AP Photo/Francois Mori)
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‘Post Tenabras Lux’ in Cannes
Carlos Reygadas premiered the most challenging film of the Cannes Film Festival on Wednesday night. And it was not well-received, at least at the press screening. Hoots and boos greeted its ending. And people laughed when they should have been appalled.
That’s not necessarily a knock about the new movie from the Mexican director, “Post Tenabras Lux.” The title is actually Latin, and translates roughly as After the Darkness, Light. But there isn’t much light in the new Reygadas film.
The movie has parallel stories, one dealing with an upscale family in the city and another dealing with an upscale family in the countryside. Neither family is doing well, at least spiritually.
Reygadas establishes a beautifully ominous tone during the opening, where a small girl wanders through a pasture as a storm approaches, and as dogs round up cattle as the evening nears. You can’t help but fear for the child’s safety, and storm clouds lurk throughout the film.
To make matters worse, Reygadas introduces a luminous red devil carrying a toolbox. And it’s clear that we’re entering allegorical territory.
Any snap judgments about the new Reygadas film seem unwarranted, and the booing on Wednesday night was out of bounds. But the movie is unquestionably challenging. One scene in particular causes lots of moral consternation. It involves a married couple entering a steamy sex club with various rooms where various sexual acts occur. A man’s wife lies down in one such room and submits to various sexual acts, while a woman says she has a body that’s built for such things. It’s hard not to see this as a metaphor for the exploitation of Mexico.
Similar situations occur in various disjointed scenes that follow, and it’ll be interesting to hear whether Reygadas chooses to answer questions about his film at the press conference on Thursday. But one thing is clear: He at least has stirred up a lot of debate among the press.
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Matthew McConaughey to play John F. Kennedy in new film from director of ‘Precious’
“Err, uh, awright, awright, awright …” Matthew McConaughey will portray John F. Kennedy in “Precious” director Lee Daniels’ upcoming film, “The Butler,” according to IndieWire. “Friday Night Lights” goddess Minka Kelly will play Jacqueline Kennedy in the movie about Eugen Allen, the White House butler from 1952 to 1986.
The film is based on a Washington Post article by Wil Haygood. Forest Whitaker will play Allen and Oprah Winfrey will play Allen’s wife. Other actors tied to the picture include Nicole Kidman, Lenny Kravitz, Terrence Howard and Cuba Gooding Jr.
“I connected with it because it is ultimately a father-son story with a civil rights backdrop,” Daniels told ScreenDaily. “In my lifetime there were separate water fountains, pools and toilets for blacks. People forget that. This is such an exciting journey for me.”
IndieWire says production is set to start on July 16th.
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‘The Angels’ Share’ in Cannes
Of all the films in Cannes, “The Angels’ Share” has a good chance to break out as a possible arthouse hit in the United States, just like “The Sapphires,” which screened earlier this week out of competition.
“The Angels’ Share” is in the competition and is directed by British auteur Ken Loach, who has a long history of appearing in Cannes and focusing on Britain’s working class. This time, he’s dealing with a group of criminals who have to go to rehab and do community service for their transgressions.
Newcomer Paul Brannigan stars as Robbie, a “wee man” with a big temper who has fathered a child out of wedlock and desperately wants to turn his life around. But his tendency to violent outbursts threatens to send him to prison. It’s not all his fault. It turns out that his father had a blood feud with some local guys, and their sons are continuing the feud by continually attacking Robbie. In short, he’s a young man who seems to be trapped.
But he finds a friend in the leader of his community service group, Harry (John Henshaw). He sees Robbie’s potential and wants to give him a chance to go straight.
It won’t be easy, but “The Angels’ Share” has a promising premise: Robbie needs to pull off a caper (directed at the upper class, of course), in order to reunite with his girlfriend and be a good father.
The title refers to the brewing of Scotch whiskey. When brewing, some of the whiskey escapes, and that’s referred to as the angels’ share. And the caper that Robbie needs to pull off involves stealing a bit of rare Scotch that’s discovered in a warehouse and is to be auctioned for about $1 million. Robbie’s partners in crime are a crazy bunch, and that’s the source of most of the humor.
It’s rare to see Loach be this comical. He usually has a very serious tone in his movies. But this one is reminiscent of “Looking for Eric,” and even funnier. There are lots of sight gags, and there are lots of inside jokes that play out through the course of the movie.
The audience in Cannes was quite receptive and gave the movie loud cheers — a rare occurrence at the usually jaded festival. But it’s unlikely that such lighthearted fare will contend for the Palme d’Or. That’s traditionally reserved for movies with moral or philosophical heft. “The Angels’ Share” is just a lot of fun.
rom left actors, Paul Brannigan, Gary Maitland , William Ruane, Jasmin Riggins and Siobhan Reilly pose as they arrive for the screening of The Angel’s Share at the 65th international film festival, in Cannes, southern France, Tuesday, May 22, 2012. (AP Photo/Joel Ryan)
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‘Post Tenebras Lux’ in Cannes
I’m a big fan of Carlos Reygadas, the Mexican director whose films include “Japan” (2002), “Battle in Heaven” (2005) and the beautiful “Silent Night” (2007). But I haven’t written about his most recent film, “Post Tenebras Lux,” mainly because there’s little information about the competition title that premieres tonight in Cannes.
The official summary is vague: “Juan and his urban family live in the Mexican countryside, where they enjoy and suffer a world apart. And nobody knows if these two worlds are complementary of if they strive to eliminate one another.”
Like many of Reygadas’ movies, “Post Tenebras Lux” appears to be visually impressionistic, without a definitive narrative.
The press notes provide little more information than the official summary, but feature scenes of people in steam baths as well as a soccer match and countryside tableaus. I’ll try to post something about the film as soon as I see it. Reygadas is certainly someone who deserves attention. Stay tuned.
From right, director Carlos Reygadas and actors Nathalia Acevedo and Adolfo Jimenez Castro arrive for the screening of Post Tenebras Lux at the 65th international film festival, in Cannes, southern France, Thursday, May 24, 2012. (AP Photo/Lionel Cironneau)
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‘Holy Motors’ at Cannes
Leos Carax is considered to be one of France’s most promising young directors. And his latest film, “Holy Motors,” premiered at the Cannes Film Festival Tuesday night in competition for the Palme d’Or.
It’s possible that it could win, but the only conceivable way that it could take the top prize is that most of the jury is familiar with Carax’s past movies as well as being incredibly cognizant of past French experiemental films.
Carax is best known for 1991’s “Lovers on the Bridge,” which was justifiably hailed as the work of new star in French cinema. And it’s likely that French intellectuals will see “Holy Motors” as its equal. But it’s hard to see it playing to wide audiences in the United States.
Denis Lavant stars as Monsieur Oscar, an unusual fellow who seems to be living various lives every day, without any clear explanation of why he’s doing so. At times, he plays a banker. At other times, he’s a beggar woman, a motion capture specialist, an assassin, an accordionist, a dying man or the father of an unusual family.
In reality, he’s no one. He’s just hired to play parts, and he’s driven around Paris in a limousine by his faithful companion Celine (Edith Scob).
“Holy Motors” is an allegory about the roles people play, about acting, about moviemaking, and about French cinema. Some of the set pieces are startling, and some are moving. But all feature Lavant as a character who’s sometimes appalling, disgusting and deadly. One of the strangest scenes involves Levant transforming himself into a troll and kidnapping a model (Eva Mendes). He then takes her into the Paris sewers, where he strips and displays his sexual arousal, then puts his head in her lap.
At this point, viewers may become a bit baffled about where the movie is heading. But that’s part of Carax’s point. He’s playing with the audience, playing with our reactions and trying to shock us out of our usual passive acceptance of watching a film. He wants to engage the mind and make us wonder.
Lavant is fairly astonishing as Monsieur Oscar. We get to see his physical transformations into various characters as he sits in the back of the limousine and applies makeup and costumes.
But it seems unlikely that such an experimental film would win the Palme d’Or. Lavant, however, has a shot at best actor if the jury decides to be a bit avant garde.
Actress Kylie Minogue, left, and actor Denis Lavant wave as they arrive for the screening of Holy Motors at the 65th international film festival, in Cannes, southern France, Wednesday, May 23, 2012. (AP Photo/Lionel Cironneau)
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‘Antiviral’ in Cannes
The apple doesn’t fall far from the tree when it comes to the Cronenbergs.
Brandon Cronenberg, son of Canadian director David Cronenberg, premiered his first movie, “Antiviral,” in Un Certain Regard, and it’s just as weird as some of his father’s early movies, such as “Scanners,” “Videodrome” and “Dead Ringers.”
“Antiviral” deals with a celebrity-obsessed culture where the general public pays big bucks to have the same illnesses as their favorite stars. For example, if Angelina Jolie gets the flu, everyone who loves her will want to have the exact same flu in order to mimic her life. Sounds sick? Yep, it is. As I said, this is a Cronenberg film.
The key character in “Antiviral” works at a company that stores and sells various viruses that have infected the top stars. His name is Syd March, a sickly looking freckled fellow with red hair. And he’s played by Caleb Landry Jones, an odd-looking duck who grew up in the Dallas suburb of Garland but now lives in Los Angeles.
He’s dutifully creepy as the guy who injects himself with various viruses, then smuggles them out of his company to sell to a shady dealer in the black market. But when he injects himself with a particularly nasty and unexpected viral strain, his body becomes a commodity, with various ne’er-do-wells seeking to kidnap him in order to extract his unusual virus and make a profit.
“Antiviral” probably sets a record for close-up scenes of hypodermic needles piercing the skin. And that’s just the start of the gross occurrences.
The closing scene is one of the most creepy in memory. And it looks like this could be a title for Austin’s Fantastic Fest. But it’s hard to believe that “Antiviral” will be a mainstream success. it’s weird and gross. And there’s never any credible explanation as to why someone would want to become sick in order to copy a star. Supposedly, it’s a sign of obsession, but it’s hard to believe that anyone would willingly put his or her life at risk in order to mimic a star’s health. That might be the case in the future, but it’s still hard to fathom such a pathological culture.
Actors Sarah Gadon, left and Caleb Landry Jones pose during a photo call for Antiviral at the 65th international film festival, in Cannes, southern France, Sunday, May 20, 2012. (AP Photo/Joel Ryan)
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A look at ‘After Lucia’ in Cannes
Michel Franco is one of the young, up-and-coming filmmakers of Mexico, and his new movie, “After Lucia,” should solidify his reputation. It premiered in the Cannes Film Festival’s Un Certain Regard section, a selection that typically acknowledges filmmakers with promise.
“After Lucia” refers to the death of a wife and mother — a death that haunts the husband and makes the daughter feel protective of her disconsolate father. And that’s the source of the teenager girl’s downfall. She doesn’t want to tell her father that she is being bullied at school because he’s still suffering from his loss, and this leads to a spiraling problem that ends in tragedy.
Tessa Ia stars as Alejandra, who makes a disastrous mistake by getting drunk at a party and having sex with a classmate, who films the encounter on his phone and then posts it online. The posting leads to ostracism, and eventually, humiliation for Alejandra. But Franco takes us through the story in a way that makes us understand Alejandra’s reluctance to tell adults about what’s going on at school.
She’s taunted, harassed by boys and forced to eat a file confection on her birthday. She’s also sexually assaulted and humiliated to the point where she simply shuts down. It’s a harrowing tale of bullying.
But when she swims away into the ocean during a school outing, the details of her humiliation finally surface and lead her father (Hernan Mendoza) to take drastic action.
During the screening in Cannes, many of Mexico’s leading figures in film turned out. Gael Garcia Bernal, whose “No” was snapped up for distribution after its premiere in Directors Fortnight, was among the crowd.
American audiences will hopefully be able to see the movie. It’s one a recent spate of movies about bullying, but this one has all the artistic merits that you’d expect from a Cannes entry. It’s not in the running for the Palme d’Or, but should be a strong contender in the Un Certain Regard sidebar.
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New Richard Linklater-produced show coming to Hulu this summer
“Bernie” director Richard Linklater will bring his original travel series, “Up to Speed” to Hulu.com this summer. Linklater’s program stars tour guide, historian Speed Levitch (star of Bennett Miller’s documentary, “The Cruise”), who visits “monumentally-ignored monuments of America’s cities, from the shoe gardens of San Francisco to the luckiest subway grate in New York City.”
“Speed Levitch is one of the most effusive, articulate people I know, and one of America’s funniest freethinkers,” Linklater said. “Hulu has a highly engaged and intellectually curious audience, and I’m excited to give them a glimpse of Speed’s unique and idiosyncratic worldview as we take the concept of a travel show and turn it on its head.”
“Up to Speed” premieres on Hulu and Hulu Plus in August. For more information, visit www.hulu.com/hulu-summer-series.
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Genius. Too bad JFK couldn’t JKL so he could have seen this.
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Looking forward to the episode where they discover that the San Francisco shoe garden is no longer there.
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