评语：1 Cosmos. Director: Andrzej Zulawski // Writer: Andrzej Zulawski. 2015 marks the ending of a fifteen year hiatus from filmmaking for Polish auteur Andrzej Zulawski, whose last film was 2000’s La Fidelite, which starred the director’s then wife French actress Sophie Marceau. Known for capturing some of the most memorably gonzo performances ever committed to film, Zulawski’s most celebrated title is 1981’s Possession, which starred Isabelle Adjani (who nabbed Best Actress at Cannes for her unforgettable performance) and Sam Neill. Infamous for its inclusion on the dreaded “Video Nasties” list of the 1980s, the title slowly nurtured a cult audience and is still, by far, the most easily accessible title of Zulawski’s impressive filmography. Plagued by Polish censors, the critical success following his first two features, 1971′s The Third Part of the Night and 1972’s The Devil saw Zulawaski migrate to France for the magnificent The Most Important Thing is to Love in 1975, starring Romy Schneider and Klaus Kinski. A return to Poland for an adaptation of his father’s sci-fi epic On the Silver Globe saw production infamously halted, though Zulawski would cobble together the footage for a 1988 release of the sabotaged title. Meeting Marceau during the filming of 1985’s L’amour Braque, the actress would also headline My Nights Are More Beautiful Than Your Days (1989) and The Blue Note (1991). Before their final collaboration, Zulawski returned to Poland once more for the strange hysteria of Szamanka (1996). After twin retrospectives in 2012 in both New York and Los Angeles, Zulawski announced plans for his next feature. We’re ecstatic to report that filming on Cosmos commenced in Portugal in November, 2014, with French actress Sabine Azema, wife and star of Alain Resnais’ films, headlining. Additional cast mates are Victoria Guerra, Ricardo Pereira and Jonathan Genet. Described as a bleak and metaphysical thriller, the film is based on a 1965 novel by Polish writer Witold Gombrowicz, the story concerning two students in a countryside town of southern Poland. As they rent a room in a small guesthouse their peace is disturbed by a series of random occurrences that suggest to their susceptible minds a pattern with sinister meanings. Cast: Sabine Azema, Victoria Guerra, Ricardo Pereira, Jonathan Genet. Production Co.: Alfama Films. U.S. Distributor: Rights available. Release Date: Zulawski’s Possession played in the main competition, while 1988’s received a slot in Un Certain Regard. We would hope that his much anticipated return to filmmaking will secure a slot somewhere in the Cannes lineup, that is if post-production isn’t too lengthy a process.
评语：2 Elle. Director: Paul Verhoeven // Writer: David Birke. One cannot overlook the plentiful cinematic contributions of Dutch auteur Paul Verhoeven, who made waves back in 1973 with Turkish Delight and helmed a handful of notable collaborations starring Rutger Hauer, though they parted ways indefinitely after Verhoeven’s 1985 English language debut, Flesh+Blood. Of course, Verhoeven’s US big-budget genre work, such as RoboCop (1987) and Total Recall (1990), both spawning recent lackluster remakes, and pulpy neo-noir Basic Instinct (1992) were overshadowed by the debacle that would come to be Showgirls (1995), now celebrated as one of the best worst films ever made. Twenty years after that, with only a few more features since, including 1997’s Starship Troopers, the maligned Hollow Man (2000) and a welcomed return to his native Holland for Black Book (2006), Verhoeven has been mostly an absent figure. In 2012, a mid-length film graced the lineup at the Rome Film Festival, while his long-gestating Jesus of Nazareth project still resides in the shadows of probable impossibility. But Verhoeven is set to begin production on a new feature this January, an adaptation of the novel Oh… by Betty Blue author Philippe Djian, which is to be headlined by none other than Isabelle Huppert. Additional cast members have been recently announced, including rising star Laurent Lafitte (who recently starred opposite Fanny Ardant in Bright Days Ahead), as well as Anne Consigny, who notably appeared in titles from Alain Resnais and Arnaud Desplechin. The film will also reunite Huppert with Charles Berling, her co-star from Les Destinees Sentimentales (2000) and The Comedy of Innocence (2000). Cast: Isabelle Huppert, Laurent Lafitte, Charles Berling, Anne Consigny. Production Co.: SBS Productions. U.S. Distributor: Rights available. Release Date: With filming kicking off in January, we’d imagine Verhoeven to be a heavy hitter in this year’s Venice Film Festival.
评语：3 Louder Than Bombs. Director: Joachim Trier // Writers: Joachim Trier, Eskil Vogt. With only two features under his belt, Norwegian director Joachim Trier remains at the forefront of notable upcoming directors, his 2006 debut Reprise snagging him Best Director at its Karlovy Vary premiere, beginning a notable festival circuit tour before snagging US distribution. In 2011, Trier reunited with screenwriter Eskil Vogt for an adaptation of Pierre Drieu La Rochelle’s novel Le feu follet, relocated to Norway and titled Oslo, August 31st, which also starred lead Anders Danielson Lie (check out our video interview with the filmmaker). Trier’s latest, Louder Than Bombs, is an international coproduction and his English language debut, a project announcing its leads Isabelle Huppert, Jesse Eisenberg and Gabriel Byrne back in 2013 when filming was supposed to take place in New York that fall. Initially unable to secure complete funding, the project was temporarily shelved, but would thankfully go on to film nearly a year later (meanwhile, screenwriter Eskil Vogt enjoyed his own festival tour with his acclaimed directorial debut, Blind, which premiered at Sundance 2014 and picked up a Screenwriting award). The film tells the story of a famous war photographer (Huppert) who is killed in a car accident, leaving behind her husband (Byrne) and two sons, one a teenager. Three years after her death, the eldest son (Eisenberg) comes home for an exhibition of her photography, and that is when they discover an unsettling secret from her past. It’s difficult to imagine a more exciting cast for Trier’s debut, notably one of Huppert’s trio of exciting 2015 titles and headlining Eisenberg and Gabriel Byrne (recently starring in Costa-Gavras’ Capital, as well as alongside Charlotte Rampling in I, Anna and Emmanuelle Devos in Just a Sigh). Cast: Isabelle Huppert, Jesse Eisenberg, Gabriel Byrne, Amy Ryan, David Strathairn. Production Co.: Bona Fide Productions, Memento Films Productions, Motlys, arte France Cinema. U.S. Distributor: Rights available. Release Date: After the critical success of Reprise, Trier’s Oslo was invited to Un Certain Regard. We’re assuming he’ll either be invited back or get a Main Competition slot with the narrative and/or cast pedigree.
评语：4 The Lobster. Director: Yorgos Lanthimos // Writers: Efthymis Filippou, Yorgos Lanthimos. With his third feature, 2009′s Dogtooth, Yorgos Lanthimos became the forefront of what’s coming to be known as the Greek Weird Wave, a handful of cutting edge, strange, and sometimes violent films from a country recently in the midst of extreme economic upheaval. Lanthimos took home the Un Certain Regard prize at Cannes that year, following a slowly building buzz that would eventually earn the film an Oscar nod for Best Foreign Language film the following year. Next, Lanthimos debuted another bizarre, expressly beautiful rumination on guilt with 2011′s ALPS, nabbing Best Screenplay in Venice. Lanthimos also starred in Athina Rachel Tsnagari’s 2010 Attenberg. Now, he reunites with his ALPS screenwriter for his English language debut, The Lobster, which has also been described as a case-study for inventive co-productions, with British, French, Greece, and Dutch money financing a production that would nab the likes of Seydoux, Farrell, Weisz, and Reilly, as long as reunite Lanthimos with Ariane Labed and his muse, Aggeliki Papoulia. Following on the heels of Blue is the Warmest Color, it was a mild 2014 for Lea Seydoux, since the Christophe Gans re-do of Beauty and the Beast has yet to play in the US, and roles in new titles rom Wes Anderson and Bertrand Bonello were rather minor accents. With this film, Jacquot’s Diary of a Chambermaid and, of course, the new Bond film, the coming year should be quite a memorable one for Seydoux fans. As for The Lobster, it’s described as a love story set in a dystopian near future where single people are arrested and transferred to a creepy hotel, they are obliged to find a matching mate in 45 days. If they fail, they are transformed into an animal and released into the woods. Like his last two features, this promises to be original, offbeat, and highly inventive. Cast: Lea Seydoux, Rachel Weisz, Colin Farrell, Ariane Labed, John C. Reilly, Aggeliki Papoulia, Ben Whishaw, Olivia Colman. Production Co.: Element Pictures, Faliro House Productions, Haut En Court, Lemming Film, Limp Films, Scarlet Films. U.S. Distributor: Rights available. Release Date: There was a decent chance this could have turned up in the Berlin line-up, but with no dice on that, we expect Lanthimos to return to Cannes once more. Since the film promises to be a daring genre piece, if Lanthimos doesn’t enter the main comp, he might get the chance to open a side-bar with this title (not unlike Ari Folman’s The Congress opening Director’s Fortnight in 2013).
评语：5 The Valley of Love. Director: Guillaume Nicloux // Writer: Guillaume Nicloux. Even with eleven feature films under his belt, director Guillaume Nicloux remains the least recognizable name on our top ten list, but his last two features have significantly elevated his international status, including his 2013 remake of the Jacques Rivette film The Nun (based on the novel by Denis Diderot, which starred Isabelle Huppert, Martina Gedeck, Louise Bourgoin and newcomer Pauline Etienne. While that film never received US distribution, his 2014 title, The Kidnapping of Michel Houllebecq was picked up by Kino Lorber after winning Best Screenplay at Tribeca and will receive a theatrical release in the US next spring. Nicloux’s latest promises to be his most anticipated to date, reuniting film stars Isabelle Huppert and Gerard Depardieu, who last worked together in the excellent Maurice Pialat film, Loulou (1980). Filming in California, the film concerns the story revolves around Isabelle and Gérard, who lost their son six months ago. However, before he died, he sent them a letter in which he invites them to go to Death Valley, at the very heart of the United States. Despite the apparent absurdity of the situation, the mother and father decide to go there anyway and wait for him. Anything Huppert is in should be of immediate interest, an international auteur darling, and Depardieu looks to have an exemplary year ahead with this and his presence in Kechiche’s The Real Wound. Cast: Isabelle Huppert, Gerard Depardieu. Producers: Les Films du Worso’s Sylvie Pialat and Benoît Quainon (Jauja), LGM Cinéma’s Cyril Colbeau-Justin and Jean-Baptiste-Dupont (Les garçons et Guillaume, à table!) U.S. Distributor: Rights available. Release Date: Prior to The Nun premiering in Berlin, Nicloux hasn’t had a strong festival presence (though his 1992 film La Vie Crevee played at Locarno). The iconic French pedigree in front of the camera for this title seems to prime it for a Cannes berth, perhaps Director’s Fortnight.
评语：6 Dau. Director: Ilya Khrzhanovsky // Writers: Ilya Khrzhanovsky, Susanne Marian, Vladimir Sorokin. Long touted as one of the most ambitious Russian films ever made (but perhaps one of the most ambitious film projects in the history of cinema itself) is Dau from director Ilya Khrzhanovsky. Over 700 hours of footage, a shoot that eclipsed six years amidst the director’s construction of a town that worked and operated as if it were a real place existing within a 1950’s timeframe, several published interviews and reports with those who experience set visits have come away describing something that sounds like pure madness. The extended shoot ended in a grand baccnalian bonfire three years ago, and in late 2013 it was announced that the film was locked in post-production in London labs, where a crew of people were struggling to piece it together into something rumored to be around two hours in length. Khrzhanovsky, who had only one other feature length film to his credit, the mesmerizing 2005 film 4, a strange and mesmerizing allegory of contemporary Russian society, received unprecedented funding for the endeavor, so we’re certain that something, somehow, somewhere will eventually have to be shown. We’ve all been doggedly waiting and our annual lists reflect an eager anticipation that it will be announced around Cannes. The film, simply, is biopic about the legendary Nobel-prize-winning Soviet physicist Lev Landau, but has become a real life version of Synecdoche, New York. Cast: Teodor Currentzis, Youriy Alekseev, Radmila Shchyogoleva. Production Co.: Essential Filmproduktion GmbH, Phenomen Films, Phenomen Ukraine, Plattform Production, Société Parisienne de Production. U.S. Distributor: Rights available. Release Date: Well over a year in post-production and with no word on a possible release, we really want to believe that Cannes 2015 will finally be the year we see Khrzhanovsky’s now mythical film come to light. We haven’t given up hope, and don’t intend to.
评语：7 La blessure. Director: Abdellatif Kechiche // Writer: Abdellatif Kechiche, Francois Begaudeau. Few auteurs have reached the heights of emotional realism in narrative cinema as has Tunisian born director Abdellatif Kechiche. Starting out as an actor (his last stint in front of the camera was in Jeff Stanzler’s 2005 American indie Sorry, Haters with Robin Wright), Kechiche’s 2000 debut, Poetical Refugee premiered in Venice and starred a host of faces we’ve seen frequently, including Sami Bouajila, Elodie Bouchez, and Aure Atika. His coming titles would prove Kechiche’s preference for non-professional and/or character actors, including the excellent 2005 title Games of Love and Chance, which won Kechiche the Cesar for Best Film, Screenplay, and Director, and would introduce us to actress Sara Forestier. He’d win Best Film, Director, and Screenplay again at the Cesars in 2007, along with several awards in Venice, including the Special Jury Prize for The Secret of the Grain, a beautiful, epically mounted film about a family’s struggle to open a couscous restaurant (which also became the platform for rising star Hafsia Herzi). His next film, 2010’s Black Venus, a biography of Saartjes Baartman, a slave from South Africa forced into the carnival trade before being used by French anatomists as evidence of the missing link, was less enthusiastically received and didn’t receive US distribution. But it would be his next work, an adaptation of a graphic novel by Julie Maroh, 2013’s Blue is the Warmest Color, which would really solidify his reputation and renown, taking home the Palm D’or at Cannes before nearly a year long back and forth controversy between Kechiche and stars Lea Seydoux and Adele Exarchopoulos. After much deliberation, Kechiche chose La blessure (The Real Wound) as his next project, an adaptation of the novel by Francois Begaudeau (writer and star of Laurent Cantet’s 2008 film The Class). Starring Gerard Depardieu (see still of Welcome to New York), the film revolves around a teenager attempting to lose their virginity while on holiday in Tunisia. Cast: Gerard Depardieu. Production Co.: Orange Studio. U.S. Distributor: Rights available. Release Date: With filming taking place late last summer, Kechiche should see his second crack at the Palme in 2015.
评语：8 Love. Director: Gaspar Noé // Writer: Gaspar Noé. The most controversial director in our top ten list has to be Argentinean director Gaspar Noé, who has made an infamous name for himself with a trio of French titles, beginning with 1998’s I Stand Alone, which starred a grizzled Philippe Nahon (who many should recognize for an equally unsettling role in Aja’s 2003 film High Tension) as a butcher spiraling into a violent rampage. But it was Noe’s 2002 title, Irreversible, which still makes entries on many lists documenting the most shocking or disturbing films ever made, thanks mostly to a nine minute rape scene featuring Monica Bellucci. And if we thought he couldn’t outdo himself there, Noe managed to do so with controversial Enter the Void (2009), in which the soul of a drug dealer is our guide through the underbelly of Tokyo, starring Paz de la Huerta in a terribly underrated performance. Taking several years between features, aficionados of Noe’s visionary, uncomfortable cinema can rejoice once again as his next project, Love promises to push more boundaries and we imagine will be nothing like Haneke’s Palme d’Or winning 2012 title that shares the same name. Set in Paris and starring a cast of unknowns, Noe has set out to tell a very erotic love story from a very sexual point of view. Described as a melodrama that celebrates sex in a joyous way, we can’t wait to see Noe’s liberated perspective. Cast: Not available. Production Co.: Wild Bunch, La Petite Reine, RT Features. U.S. Distributor: Rights available. Release Date: Noe’s last two films screened in the main competition, with Enter the Void making controversial waves and screened as a ‘work-in-progress.’ Filming was rumored to have started earlier this year, most likely with much of his non-professionals improvising their scenarios, and this seems more of a low key affair for Noe, who we’re assuming will unveil at Cannes, though it’s explicit nature could very well spin him into a sidebar.
评语：9 Flashmob. Director: Michael Haneke // Writer: Michael Haneke. The cinema of Michael Haneke may be described as cold, distant, even isolating, as the Austrian auteur prizes the examination of estrangement and the discontent of families or individuals trapped within the confines of what we refer to as modern society. He also cares little for coddling audiences, often directly criticizing what we’ve come to expect and desire from cinematic narratives. Starting out as a director in television in the early 1970′s, it would be his 1989 feature debut The Seventh Continent that first garnered attention, followed by 1992′s Benny’s Video (starring Angela Winkler), which played at Director’s Fortnight, as did his 1994 title 71 Fragments of a Chronology of Chance. In 1997, Haneke would direct a television adaptation of Kafka’s The Castle, starring Susanne Lothar and Ulrich Muhe, the acting couple that would headline one of his most galvanizing titles also that year with Funny Games, which granted him is first shot at the main competition at Cannes. He was invited back to the competition in 2000 with Code Unknown and again in 2001 with The Piano Teacher, starring Isabelle Huppert in her most iconic performance and securing a Best Actress win. Huppert would team with him again for the post apocalyptic Time of the Wolf, playing out of competition. 2005′s Cache won the Grand Jury Prize, starring Juliette Binoche and Daniel Auteuil as a couple being harassed by an unknown assailant, a film examining the historical injustices that erupt from forgotten depths to plague the privileged. Haneke would remake the English language version of Funny Games in 2007, starring Naomi Watts, and then snag the Palme d’Or for each of his next two films, 2009′s The White Ribbon and 2012′s Amour. And so it is with great expectations that we await Flashmob, of which little is known except that filming last summer was delayed due to Haneke waiting for a particular and as yet unnamed actress for a story that tracks a group of people who come together via the Internet to stage a flashmob. Cast: Not available. Production Co: Austrian Film Institute. U.S. Distributor: Rights available. Release Date: Haneke’s limited statements about the project, with the last update from last June, makes the possibility of the film being ready sometime in 2015 doubtful. But no news is good news, though we’re assuming that little has changed with the current status, and as every of Haneke’s films have premiered at Cannes (with the exception of the 2007 Funny Games) since Benny’s Video, we should hope that maybe headway has been made in secret.
评语：10 Mountains May Depart. Director: Jia Zhangke // Writer: Jia Zhangke. A preeminent figure in the Sixth Generation movement of Chinese cinema, Jia Zhangke is arguably one of the most renowned auteurs working in cinema today. Famously independently producing his early works, such as Pick Pocket (1997), Platform (2000) and Unknown Pleasures (2002), which were considered underground films, Zhangke was given unprecedented approval for his 2004 film The World (2004), which found the director’s domestic and international renown expand, leading to one of his most celebrated titles, 2006′s Still Life, which took home the Golden Lion at Venice. His next film, 2008′s 24 City was less well received, and Zhangke focused on documentary projects (including the 2010 title I Wish I Knew which premiered at Cannes in Un Certain Regard). Zhangke saw his most notable acclaim yet with 2013′s A Touch of Sin, which took home Best Screenplay at Cannes, depicting four tales of violence ripped from modern day headlines. Known for his long takes and subject matter revolving around the alienated youth and increasingly restless agitation of the working class in contemporary Chinese culture, often with a direct affect of globalization to be taken into account, his works are often non-linear and episodic. In Spring of 2014, Zhangke announced he would be making his first film outside of China, Mountains May Depart, which jumps through place and time from contemporary China to a futuristic Australia. Starring wife and muse Zhao Tao, it begins in the 1990s, the movie follows Tao and Dong, a young couple in love. Tao later leaves Dao to marry a wealthy mine owner. On his deathbed Dong meets Tao again; she is divorced and her son is exiled in Australia. The story jumps to Tao’s son in Australia in the year 2025. The only word of Chinese he still remembers is his mother’s name. Cast: Zhao Tao. Producuers: Shozo Ichiyama, Shanghai Film Group, MK2. U.S. Distributor: Rights available. Release Date: Production was initially announced as beginning in October, 2014. After Zhangke’s 2013 Cannes win for Best Screenplay, we’d imagine this title would snag him his fifth slot at the fest, perhaps fourth time in competition.
评语：11 Zama. Director: Lucrecia Martel // Writer: Lucrecia Martel. Argentinean director Lucrecia Martel has become one of her country’s most prolific filmmakers with three outstanding titles to her name, beginning with 2001′s La Cienega (where she won the Alfred Bauer film award in Berlin, and the title will see its release in the Criterion selection shortly), 2004′s The Holy Girl, and the coolly received The Headless Woman in 2008, which has gone as to stand as her most notorious and well received works. For some time now she’s been at work on Zama, a period piece based on the novel by Antonio de Benedetto and will be produced by Lita Stantic, El Deseo (the Almodovar Bros’ company). Cast: Daniel Gimenez Cacho. Producers: Lita Stantic, El Deseo, Rei Cine’s Benjamin Domenech, Mpm’s Marie-Pierre Macia, Rosa Filmes. U.S. Distributor: Rights available. Release Date: A project now years in gestation, it is primed to film this spring. As her last two films have premiered at Cannes, we’ll have to see if Martel wishes to push the film out into the world at the end of the year or wait for another Cannes.
评语：12 Kebab Royal. Director: Peter Brosens and Jessica Woodworth // Writer: Peter Brosens and Jessica Woodworth. A Belgian directing duo that you may be unfamiliar with but shouldn’t be is Peter Brosens and Jessica Woodworth. Starting out as documentarians, they segued into narrative film with 2006′s Khadak, eventually spinning a loosely related trilogy with 2009′s Altiplano and 2012′s The Fifth Season (2012). While it’s possible to obtain copies of the first two, for some confounding reason, their last feature never received distribution in the US even though it’s a fascinating, transfixing film. They’ve recently received another round of funding for their latest feature, Kebab Royal, descried as “a hair-raising quintessence of European fairy tales around the last king of the Belgians lost in the Balkans.” Cast: Not available. Production Co.: Bo Films’ Peter Brosens, Artémis’ Patrick Quinet (Almayer’s Folly), Topkapi Films’ Frans Van Gestel (Nude Area). U.S. Distributor: Rights available. Release Date: Filming is slated to begin this spring, so we’re unsure if this will be ready in time for a 2015 release, but there remains a slight possibility of it being so, particularly since two parts of their trilogy premiered in Venice.
评语：13 Toni Erdmann. Director: Maren Ade // Writer: Maren Ade. Though many be unfamiliar with her work, which is a pity since both her previous films are available in the US, director Maren Ade happens to be one of the most vibrant new voices in German cinema. Her 2003 debut The Forest For the Trees received a rather hushed festival debut in Germany before going to collect a Special Jury prize at Sundance. Her powerful and exquisite follow-up was 2009′s Everyone Else, which took home the Silver Berlin Bear at that year’s Berlin film festival. Generally taking a long time between projects, we’ve been patiently waiting for her third feature, Toni Erdmann, which was initially announced back in 2012. With filming at last completed, we’re hoping to finally catch a glimpse of the film which we know little about except that it’s about a father trying to connect with his adult daughter. Ade, married to director Ulrich Kohler (Bungalow; Sleeping Sickness) also produces a wide variety of notable titles, including Miguel Gomes’ Tabu and Benjamin Heisenberg’s Superegos. Peter Simonischek of Gotz Spielmann’s Oktober-November stars in the title role. Cast: Peter Simonischek, Sandra Huller, Hadewych Minis. Production Co.: Komplizen Film, Coop99 Filmproduktion. U.S. Distributor: Rights available. Release Date: Filming completed in late September, with a shoot that lasted over 50 days and had upwards of 2,000 extras and 50 speaking roles. Clearly Ade’s biggest production to date, it seems unlikely that this would have been readied for Berlin, and Cannes could be a possibility for Ade.
评语：15 The Death and Life of John F. Donovan. Director: Xavier Dolan // Writer: Xavier Dolan. 2014 marked an important year for the burgeoning auteur Xavier Dolan, premiering his fifth feature Mommy in the main competition at Cannes where he snagged the Jury Prize (tying with Jean-Luc Godard). The film also represented Canada as the country’s submission for the Best Foreign language representative, and should finally solve US distribution issues that have hobbled the release of some of his earlier titles, such as his 2009 debut I Killed My Mother (which took home the Camera D’or) and 2013′s Tom at the Farm. His latest feature marks his most ambitious project yet, an English language debut attempting to grapple with notions of the American film industry, The Death and Life of John F. Donovan. Marking Dolan’s English language debut, the film tells the tale of an American’s movie star’s exposed correspondence with an 11 year old fan (based on Dolan’s own experience mailing Leonardo DiCaprio as a young child, briefly mentioned in I Killed My Mother). And, he’s amassed a highly notable cast, including Kit Harington, Jessica Chastain, Susan Sarandon, and Kathy Bates. Cast: Kit Harington, Jessica Chastain, Susan Sarandon, Kathy Bates. Production Co.: Lyla Films, Sons of Manuel. U.S. Distributor: Rights available. Release Date: The globe-trotting title is currently marked as a possible 2016 release, but with filming taking place this Spring, we’re holding onto the (slim) possibility that Dolan will be ready to present in Venice (where Tom at the Farm premiered).
评语：16. 11 Minutes. Director: Jerzy Skolimowski // Writer: Jerzy Skolimowski. Esteemed Polish auteur Jerzy Skolimowski began his directorial career in the late 60′s, but gained international acclaim outside of his native film system, dipping into the French/Belgian production of The Departure (1967), headlined by Jean-Pierre Leaud (and winning the director the Golden Berlin Bear), before helming a trio of infamous UK productions starting with 1970′s iconic Deep End, an adaptation of Nabokov’s King, Queen, Knave (1972) and the mystical genre film The Shout (1978) featuring Alan Bates and John Hurt. Skolimowski would compete at Cannes five times, winning the Grand Jury prize twice, for The Shout and 1982′s Moonlighting. And then three rounds in Venice would nab him two more Jury Prizes, for The Lightship (1985) and Essential Killing (2010). Skolimowski was assumed to have retired after a hiatus dating from 1991′s 30 Door Key, but broke his silence with 2008′s Four Nights With Anna, followed by Essential Killing, an exquisite dialogue free film starring Vincent Gallo as an Afghan POW. He’s back on another thriller, 11 Minutes, filming in Poland and Ireland and starring Agata Buzek of Krzysztof Zanussi’s Foreign Body (2014) and Richard Dormer of ’71 (2014) and “Game of Thrones.” (One should note that Skolimowski often makes acting appearances, including Cronenberg’s Eastern Promises and Joss Whedon’s The Avengers). A thriller, the film follows the same 11 minutes in the lives of several different characters – young and old, prosperous and destitute. Cast: Agara Buzek, Richard Dormer, Dawid Ogrodnik. Producers: Skopia Film’s Ewa Piaskowska (Essential Killing), Element Pictures’ Andrew Lowe and Ed Guiney (Room). U.S. Distributor: Rights Available. Release Date: Skolimowski’s return to filmmaking garnered him a slot in the Director’s Fortnight in Cannes 2008 while 2012′s Essential Killing went to Venice. Principal photography began back in September, so there’s no reason why this wouldn’t be at Cannes, though we wouldn’t be surprised to see the title slotted once again into a sidebar.
评语：18 Journal d’une femme de chambre. Director: Benoit Jacquot // Writers: Benoit Jacquot, Helene Zimmer. French auteur Benoit Jacquot tends to get overlooked, though his recent international success with Berlin premiered Farewell, My Queen (2012) seems to have boosted his status, even though he’s been making excellent films since the 1970s and used to serve as Assistant Director to Margeurite Duras (India Song; Nathalie Granger). He’s worked several times with Isabelle Huppert (The School of Flesh; Keep It Quiet; False Servant; Villa Amalia) and Isild Le Besco (A Tout de Suite; Deep in the Woods), and generally tends to favor female perspectives. His latest, 3 Hearts, competed in Venice and starred Catherine Deneuve, Charlotte Gainsbourg, and Chiara Mastroianni. We’re thrilled to see he’s following in the footsteps of Jean Renoir and Luis Bunuel with an update of Octave Mirabeau’s Diary of a Chambermaid, reuniting him with the exciting Lea Seydoux, who starred in Farewell, My Queen. Initially set to star Marion Cotillard, Lea Seydoux seems a more appropriate choice to resurrect a role mastered previously by Jeanne Moreau in this strange tale about a scheming servant works for a wealthy couple in France during the late 19th century. Cast: Lea Seydoux, Vincent Lindon, Clotilde Mollet. Production Co.: JPG Productions, Les Films du Fleuve, Les Films du Lendemain. U.S. Distributor: Rights Available. Release Date: Jacquot tends to favor Venice, where he’s competed four times, but it’s rumored that the film is set for domestic release this spring, so we’d hope he could hold off for a slot at Cannes, where he last played in 1998 with The School of Flesh, but there’s a strong possibility he won’t.
评语：19 A Bigger Splash. Director: Luca Guadagnino // Writer: David Kajganich. It’s hard to believe that it’s been six years since Luca Guadagnino’s art house favorite I Am Love (2009) swept through Venice and Toronto, starring a delectable Tilda Swinton in an homage to Visconti. That was Guadagnino’s third and most acclaimed film (previously he’s directed Melissa P. in 2005 and 1999’s The Protagonists, also starring Swinton). After several experimental projects and documentaries, he’s signed onto several projects that never took off, including most notably an adaptation of Don DeLillo’s The Body Artist with Isabelle Huppert, Sigourney Weaver, David Cronenberg, and Denis Lavant all lined up to star (the project is now under the direction of Benoit Jacquot and will film with mostly unknowns sometime in 2015). Out of the blue, he announced he would be making A Bigger Splash, a remake of the 1969 Jacques Deray film La Piscine, which starred Alain Delon, Romy Schneider and Jane Birkin. Splash reunites Guadagnino with Swinton, and an exciting supporting cast that includes Ralph Fiennes and Matthias Schoenaerts. Margot Robbie was initially set to star, but dropped out and was replaced by Dakota Johnson. A crime mystery set in in Italy where an American couple, Marianne and Paul, spend their vacation in a villa near St.-Tropez. Marianne invites former lover, Harry, and his teenage daughter, Penelope to stay. Cast: Dakota Johnson, Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts. Production Co.: Frenesy Film Company, StudioCanal. U.S. Distributor: Rights available. Release Date: Guadagnino has yet to play at Cannes, and the film is currently in post-production. If he isn’t offered a Main Comp slot we could see this resting until Venice.
评语：20 Eisenstein in Guanajauto. Director: Peter Greenaway // Writer: Peter Greenaway. Cinema is alive and kicking and so is director Peter Greenaway, though listening to the esteemed auteur often leads one to believe otherwise. The creator of some of the cinema’s most alluring and sometimes controversial works (the unforgettable The Cook, the Thief, His Wife, & Her Lover 1989 or the less renowned The Baby of Macon, 1995), Greenaway has long challenged the visual limits of film. Anyone doubting his continued masterful ability need only look to his last completed feature (sadly without US distribution), Goltzius and the Pelican Company, which premiered at the Rome Film Festival. He also contributed to the 2013 omnibus 3x3D along with Edgar Pera and Jean-Luc Godard. His latest, Eisenstein in Guanajuato is exactly what it says it’s about, a reenactment of the famed filmmaker Sergei Eisenstein at a pivotal moment in his career. After being maligned by conservative American values following the success of early titles such as Battleship Potemkin, Eisenstein traveled to Mexico in 1931 to consider a film privately funded by American pro-Communists headed by famed author Upton Sinclair. Cast: Stelio Savante, Lisa Owen, Maya Zapata. Production Co: Submarine, Fu Works, Paloma Negra Films, Edith Film Oy, Potemkino. U.S. Distributor: Rights Available. Release Date: Greenaway will be presenting the film in competition at the 2015 Berlin Film Festival.
评语：22 Sierra-Nevada. Director: Cristi Puiu // Writer: Cristi Puiu. Not much has been heard lately from Romanian New Wave master Cristi Puiu, whose memorable sophomore effort, 2005’s The Death of Mr. Lazarescu won the Un Certain Regard award and became one of the signature titles of that film movement. His less celebrated but equally assured follow-up was 2010’s incredibly bleak Aurora. Since then, he quietly unleashed a terrific 2013 feature Three Exercises of Interpretation, which was one of the best films we saw that year, but it sadly is still without distribution. At the tail end of 2013, Puiu announced two projects in development, the first being Sierra-Nevada. A shoot had been scheduled for late that year for a 2014 premiere, but it was only recently announced that the project had recently received the funding it had been hoping for from Eurimages. The film concerns “a commemoration that never gets to take place,” as Puiu describes it, and its characters escape into fiction when overwhelmed by a grief they cannot understand. Inspired by Aurel Rau’s poem The Agathirsoi. Cast: Not available. Producer: Anca Puiu (Viktoria). U.S. Distributor: Rights available. Release Date: Depending on whether filming took place already (though a 20 day shoot was originally estimated), we believe Puiu could have this ready in time for Cannes. If not, certainly we’ll see this around in the fall.
评语：23 The Assassin. Director(s): Hou Hsiao-Hsien // Writer(s): Hou Hsiao-Hsien, T’ien-wen Chu. Chinese auteur Hou Hsiao-Hsien has been steadily working since the early 1980’s, coming to great international acclaim in the 1990’s, winning the Jury Prize at Cannes for 1993’s The Puppermaster. His 1996 film Goodbye South, Goodbye was named by Cahiers du Cinema as one of the three best films of the 1990s, while his last completed feature was 2007’s Flight of the Red Balloon, starring Juliette Binoche. But it looks like, after years of waiting, 2015 will see the release of his martial arts epic, The Assassin. A project long in gestation, with initial scenes filming as way back as 2010, production on Hou Hsiao-Hsien casts his usual muse Shu Qi. Based on a short story, this about a female assassin during the Tang Dynasty (618-907 A.D.) who begins to question her loyalties when she falls in love with one of her targets. Cast: Shu Qi, Chang Chen, Satoshi Tsumabuki, Ethan Ruan, Nikki Hsieh, Ni Dahong, Zhang Shijun, Michael Chang, Jiang Wen, Zuo Xiaoqing, Xu Fan, Tadanobu Asano, Zhou Yunin. Producer: Wen-Ying Huang (Three Times). U.S. Distributor: Rights Available. Release Date: Predicted as being a contender in the line-up back in 2014, we’re pegging it for 2015’s Main Competition at Cannes.
评语：24 Les Malheurs de Sophie. Director: Christophe Honoré // Writers: Christophe Honoré, Gilles Taurand. One of France’s most underrated directors (at least judging on the level of attention he receives overseas) is Christophe Honoré, who is perhaps best known for his 2007 film, Love Songs, which played in the Main Competition at Cannes. A unique and utterly charming musical, Honore followed up his collaboration with Alex Beaupain with less success for 2011’s Beloved, which closed the Cannes Film Festival. Usually casting either Louis Garrell, Chiara Mastroianni or both in nearly all his features, his latest, Metamorphoses (2014), an adaptation of the famed text by Greek poet Ovid, premiered at Venice Days with little fanfare. Honore’s also responsible for the provocative George Bataille adaptation, Ma Mere (2004) which features an infamous performance from Isabelle Huppert. His tenth feature film, Sophie’s Woes, is loosely based on a famed children’s novel by the Countess of Segur, with a screenplay co-written by Gilles Taurand, who has worked on some of Andre Techine’s most famed titles (Wild Reeds; Thieves) as well as Benoit Jacquot’s Farewell, My Queen (2012) and Ursula Meier’s Sister. A cast headlined by Iranian actress Golshifteh Farahani and rising French star Anaïs Demoustier is also of exciting note. Cast: Golshifteh Farahani, Anaïs Demoustier and Murielle Robin. Production Co.: Les Films Pelléas. U.S. Distributor: Rights Available. Release Date: With filming taking place this January, Cannes seems a bit iffy, but still a possibility. This seems like the type of project that would receive a slot if it was ready in time, this might be a plum title for Venice.
评语：25 Erran. Director: Jacques Audiard // Writer: Jacques Audiard, Thomas Bidegain, Noé Debré. French auteur Jacques Audiard has enjoyed considerable acclaim with his last two features. 2009’s A Prophet snagged the Jury Prize at Cannes and nine Cesars (including Best Director), while 2012’s Rust and Bone snagged Marion Cotillard a Golden Globe nod for Best Actress in a Drama and was awarded four Cesars out of its nine nominations. He’s also won Best Screenplay at Cannes in 1996 for A Self Made Hero, while 2005’ s The Beat That My Heart Skipped won Best Director and Film at the Cesars. Needless to say, Audiard is a heavy hitter at home and abroad, and expectations are high for his seventh feature, Erran, which is in production but being kept under wraps. Starring Vincent Rottiers (he was Jean Renoir in Gilles Bourdos’ 2012 Renoir), the film will revolve around a Sri-Lankan Tamil fighter who is a political refugee in France, where he works as a caretaker on an “unruly” council estate in the Parisian suburbs. Cast: Vincent Rottiers. Producers: Why Not Productions’ Pascal Caucheteux (Blood Father), Page 114. U.S. Distributor: Sundance Selects. Release Date: Already having secured US distribution, we’re assuming this will make a bow at Cannes.
评语：26 Sunset Song. Director: Terence Davies // Writers: Terence Davies, Lewis Crassic Gribbon. While his famous early works were inspired around his incredibly bleak childhood, with a famed trilogy of shorts followed by Distant Voices, Still Lives (1988) and The Long Day Closes (1992), the infrequently working auteur Terence Davies has seemed keen on adapting pieces of classic literature, including John Kennedy Toole’s The Neon Bible (1995), Edith Wharton’s The House of Mirth (2000), and most recently the Terence Ratigan play The Deep Blue Sea (2011), which starred Rachel Weisz and Tom Hiddleston. Another four years have passed and we’re at last hoping to see Davies’ latest, Sunset Song, based on a the 1932 classic Scottish title from Lewis Crassic Gribbon, which is centered on the strong female protagonist Chris Guthrie, growing up amongst a dysfunctional family in the north east of Scotland in 1900. Actress Agyness Deyn will have the chance to prove herself and has great shoes to fill (she’s previously been seen in Luis Prieto’s unnecessary remake of Refn’s Pusher, and starred as Aphrodite in the remake of Clash of the Titans). Cast: Peter Mullan, Agyness Deyn, Douglas Rankine. Production Co.: Holdings Ecosse, Hurricane Films, Iris Productions. U.S. Distributor: Rights available. Release Date: Davies has competed in Cannes with The Long Day Closes and The Neon Bible, so we’re expecting him to see a long awaited return there.
27. 45 Years. Director: Andrew Haigh // Writers: David Constantine, Andrew Haigh. British director Andrew Haigh stormed South By Southwest in 2011 with his sophomore film Weekend, considered by many to be one of the most accurate and well told modern examples of what challenges and joys accompany the promise of a romantic connection between gay men (and went on to snag a spot in the Criterion collection). Since then, Haigh has directed seven episodes of the prolific HBO series “Looking.” His latest, 45 Years, concerns a heterosexual couple played by Charlotte Rampling and Tom Courtenay, about to celebrate their 45th wedding anniversary. A mysterious letter arrives announcing that the body of the husband’s first love has been found frozen and preserved in the icy glaciers of the Swiss Alps. We’re assuming that there’s more of a secret to be revealed and this sounds an awful lot like something we’d expect to see from Francois Ozon considering Haigh chose the inimitable Rampling. Cast: Charlotte Rampling, Tom Courtenay, Dolly Wells. Production Co.: The Bureau’s Tristan Goligher (Weekend). U.S. Distributor: Rights available. Release Date: The film is set to premiere in competition at the Berlin Film Festival.
评语：28 The Riders. Director: Jahmil X.T. Qubeka // Writer: Susie Brooks-Smith. South African filmmaker Jahmil X.T. Qubeka made headlines in 2013 when his sophomore film Of Good Report was banned shortly before it was set to premiere at the Durban International Film Festival due to sensitive subject matter involving a high school teacher carrying on a sexually charged affair with one of his female students (thankfully, it was programmed and played at TIFF). An homage to film noir, Qubeka’s moody, psychologically inclined thriller announced the filmmaker as an intriguing talent, and though Report is still sadly without US distribution, we’re excited to see he’s working on a UK production, The Riders, with filming to take place in London and Croatia. The film tells the tale of a man searching across Europe for his missing wife with his child in tow. Cast: Liam McIntyre, Pixie Davies, Alison Carroll. Production Co.: Trinity Pictures. U.S. Distributor: Cinetic Media. Release Date: We can look forward to Qubeka as a rising directorial voice over the next several years, having recently signed with a UK agency that has granted him access to a handful of other developing projects. We look forward to The Riders securing a festival slot in Karlovy Vary or even Locarno before returning to Toronto.