Cannes Film Festival 2016 Talking Movies


Cannes Film Festival 2016

Talking Movies looks at some of the highlights of the 2016 Cannes Film Festival.


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Hello and welcome to Talking Movies, here on the French Riviera. A look

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at the lineup in Cannes this year revealed a very strong American

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presence, not so much in the form of Hollywood blockbusters like mad Max,

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but more in terms of films that represent the directors' personal

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vision. New Yorker Woody Allen was on the red carpet on opening night

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with Cafe Society, it was the third time that one of his films had got

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the opening night slot at Cannes, a record. The film is set in Hollywood

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in New York in the 1920s, and it centres on a love triangle with

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characters played by Jesse Eisenberg and Kristin Stewart. Brought male

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and female relationships are at the heart of this picture. I don't think

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that's a very good idea, actually. I am seeing someone. The film, which

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got middling reviews, has much to commend it, particularly the

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performance of Kristin Stewart playing the woman at the centre of

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it all. For Woody Allen, this film represents quite a publishing. It is

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his 47th picture and like every other made on his own terms. Hardly

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anyone in the film industry has that degree of creative freedom, and he

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keeps going despite not being a youngster. I feel useful. Now, I'm

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sure one day I'll wake up in the morning and, you know, I'll have a

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stroke or something, or... And be one of those people that you see in

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a wheelchair. But until that happens I was going to... I was going to

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continue to make films. Money Monster, which could be called a

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financial thriller, was launched at Cannes as well. Its cast includes

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George Clooney and Julia Roberts. Anyone who can get out, get out now.

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It is the story of a young man who holds a financial guru hostage

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because he has followed Gates's advice and lost a lot of money.

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Julia Roberts is the show's producer. The film seems to be a

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critique of greed driven financial capitalism in US factual television.

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What happens is in the 24-hour news cycle you keep hearing this drumbeat

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of these elements and you think oh, my God, the world is coming to an

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end, ISIS is going to be on our front step when the reality is it

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needs to be put back in perspective. At the helm of this production was

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one-time child star turned Oscar-winning actress Jodie Foster,

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who has directed before but nothing quite so big. She proves herself

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adept as a filmmaker. Being a director has always been my dream,

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it is something I have always wanted since I was a little girl. To have

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the full vision of the film and to have my signature be the one, for

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better and for worse, maybe it is terrible, but it is a full signature

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on the product. Money Monster follows from previous films, most

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notably the classic Dog Day Afternoon. It has a plot which

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becomes a little preposterous but after all this film is entertainment

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despite being sold as something more serious. They are stealing

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everything from us and they are getting away with it as well.

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Another American offering starring Russell Crowe and Ryan Gosling was

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the buddy comedy Nice Guys, set in the 1970s with Russell Crowe and

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Ryan Gosling playing detectives. It was popular with audiences but

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showed signs of being tired product. It felt like a product conceived to

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meet commercial imperatives rather than anything more original. Some of

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the best American films at Cannes were more modest, with less

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promotional noise attached. Case in point Loving. Based on real events,

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it tells us Tory of an interracial couple, Loving in the 1950s, at a

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time when the State bandh mixed-race marriages. The couple's case went to

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the Supreme Court and they won with a landmark ruling striking down

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rules forbidding interracial marriage. There are no histrionics

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in this film, no big speeches, it is very effective despite being quite

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restrained. Did you hear me? The beneficial thing of the story is

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that it is in trying to preach because the Lovings are not trying

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to preach. A way to connect with people is to talk about humans, to

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talk about the humanity in an issue, and that I think is what the Loving

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story provides. Taken overall, the American movies at Cannes were quite

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good. It shows that the auteur theory is still alive, which is of

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course no bad thing. Here at the UK Pavilion in Cannes, people are very

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well aware that there are two British films in, The Magician this

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year. Both were put together by directors working in the social

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realist condition. One is set in Newcastle upon Tyne in the

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north-east of England and the other rather interestingly in the United

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States. The Americans that film, American Honey, had its cast and

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British director dancing on the red carpet. The film focuses on the

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adventures of the start, who plays a rootless group of young people

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travelling from one midwestern community to another selling Magas

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magazine subscriptions. There is an intense relationship with the

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intense Jake, played by Shia Leboeuf. It is an American road

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movie of sorts. -- Shia LaBeouf. What they are selling is a small

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potted version of the American dream, they are trying to make their

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own version of the American dream and they are trying to sell

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themselves, they are working hard at selling themselves which is what

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capitalism is all about. I have to speak to the manager. The other

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British film came from veteran director Ken Loach. It is the story

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of two individuals who find themselves pushed to extremes by an

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unsparing state. Daniel Blake is the central character, he is not well

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but encounters a bureaucratic nightmare and trying to get out of

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it. It is a total indictment of the social welfare system in the UK

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which is depicted as being totally heartless. Ken Loach shares that

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view. There is a conscious cruelty in the way we are organising our

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lives now. The most vulnerable people are told that their poverty

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is their own fault. If you have no work, it's your fault you haven't

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got a job. Loach's film and its strong reviews showed that this 70

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going -year-old director still has it in him to make powerful cinema --

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79-year-old director. Sit at your desk and do the job the taxpayer

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pays you for. Once again, the lack of female directors in addition at

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Cannes this year was notable. Only three of the 21 films up for the

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Palme d'Or were made by women but the year was dominated by stories

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about women and the actresses who play them. Stories about women are

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dominating the competition in Cannes this year. Even male directors

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traditionally associated with very macho, masculine movies are turning

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to female cast, like Neon Demon, and the director of Old Lawyer, who

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brought the Handmaiden, a lesbian love story, to Cannes. But other

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directors at Cannes this you have a long history of creating roles for

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women, like Pedro Almodovar. Kristin Stewart is back at Cannes with

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Personal Shopper, a ghostly thriller set in this world. Women's stories

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have been a driving force behind the director's work. I think the most

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important, the most exciting thing in how the modern world is changing

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is how the status of women is changing. I think there is no

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stronger subject, really, so I think it is a constant source of

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inspiration. It is a kind of rarity for a male director to be so

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inspired by feminine curiosity, and a drive. I think it is awesome to be

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seen by somebody so different. But despite the proliferation of

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women's stories on screen here at Cannes, getting more women in

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prominent roles behind the camera is an ongoing concern. As slow as the

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process has been for women to find their voice in cinema, as soon as

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you tell them it is OK, as soon as you live by example and not

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highlight the fact necessarily that it is a girl doing it but that is it

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is accepted and normal and we don't categorise them as female

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filmmakers, I think it will become rampant. I think it will become an

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immediate response to have more women wanting to tell stories. But

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some believe that a gap between women's desire to tell stories and

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the opportunity to have their voices heard. We need to figure out and the

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industry needs to figure out how it can support women so that they can

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have a voice. Because we are half the world. Our stories are just as

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important as male stories, and the fact that the narrative of the film

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business has consistently been about men having to vision is to tell

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stories about women, and I want to see women tell stories about women

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as well. Of the three female directors in competition for the

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Palm d'Or this year, Tony Edmund and Andrea Arnold with American Honey,

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have won plaudits for their very different pictures. What is really

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encouraging about the three female director Johnson, The Magician this

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year is how different they are. You wouldn't necessarily lump them

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together and say women directed these. So American Honey is very

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distinctive to its director, and it is linked to films not directed by

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women. But the debate about increasing women's visibility and

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power in the film industry continues to rage. A number of high-profile

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women including Jodie Foster, some are high at, Geena Davis and Susan

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's Aaron did art taking part in Women in Motion here at Cannes. --

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Salma Hayek. There is much debate about how to bring about change. For

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some quotas and positive discrimination are the way forward

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but this approach comes with clear risks. I think it is an

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exceptionally dangerous road to go down. As soon as you devalued... As

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soon as you allow the possibility that people have got in there

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through positive discrimination you do devalue the currency itself.

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Germany hasn't had a film in competition for eight years but this

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year it had won, with a drama about a father daughter relationship. Its

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inclusion in the lineup could signal a positive change within the film

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industry in Germany, which hasn't exactly been flourishing of late.

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BBC Culture's Matthew Anderson reports. Funnily enough, one of the

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most hilarious films of this year's Cannes Film Festival comes from

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Germany, not a culture that people associate with a rollicking sense of

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humour. Toni Erdmann tells the story of a workaholic Management

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consultant on a work assignment in Bucharest and a retired piano

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teacher with a liking for practical jokes who travels from Germany to

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pay her a surprise visit. Confronted with the joyless and of his life, he

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puts on the character of Toni Erdmann, a lifestyle coach who

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starts making some unwelcome appearances in her life. He invents

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this character, Toni Erdmann was like a very radical step. He is

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doing, and that part, I mean, on the surface it's funny and its

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humourous, but for her as a daughter, underneath, the daughter

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is something very aggressive. Imagine your father would do

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something like that, appear there in a bar. You are sitting there with

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friends, and that is a tough challenge. Can I offer you ladies a

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glass of champagne? Toni Erdmann is a comedy but it is also a film about

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humour, about the importance of having a sense of humour and it has

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some serious things to say about family dynamics, about the pressures

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that professional women face, and how working too much can hollow us

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out and make us lose sight of the more important things in life. I

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think what makes this movie so outstanding is that based on a

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really script, you have a comedy of manners, and a family life -- really

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brilliant script. And of manners at the same time. And the look of the

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movie, it doesn't look even beautiful or anything, it doesn't

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try to get us by looking especially gorgeous. I think all of this

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together makes it a very good film. And this is my secretary. Other

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critics have been equally impressed. At its first press screening here in

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Cannes, the movie was greeted with gales of laughter and something

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almost unheard of from this tough crowd, spontaneous, non- sarcastic

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applause in the middle of the movie. During shooting of the film there

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was a point when I said to my producer I am sorry, I think this

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will be very, very sad film. So... Mostly I don't know if it will be a

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comedy, but it was cool that they laughed so much.

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Many have noted the total originality. It is hard to think of

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another film quite like this. When I got the script and the invitation

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forecasting I thought it was completely out of the usual script.

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We did castings and costume. Tony is the first -- it is the first German

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film to be in competition at camp since 2008. Why is it that festival

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selectors shy away from German movies? Because they aren't good

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enough. It has been 80 years that there wasn't a German movie here. --

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eight years. What you think is so good about this one? It is more

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risky. But the thing about German movies, they don't take risks. She

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takes every risk. I was surprised. She really pulls it out and it is

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amazing. I'm sorry, my father made a stupid joke. A striking animation

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was bought two cans audiences, produced by Studio Gibli. It tells

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the story of a man on a desert island who battles against the

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mysterious sea turtle. It starts with being passed away on

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a desert island. He is alone in nature and he wants to leave the

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island and go home and he can't because he is being stopped all the

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time and that's where the story develops. What makes this animation

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stand apart is that there's no dialogue. It is completely wordless,

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but the storytelling doesn't suffer. Far from it. It will certainly make

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it easier for the movie to find an international audience, in that

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there's no translation to worry about. Not to mention the fact that

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it is told in this almost mythic way, where anyone from any country

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should be able to see within this very simple story reflections of

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themselves. As for the animation it is far from flashy, it is not

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computer-generated. It is 2-D hand drawn animation, in that sense it is

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classical. It starts being realistic in design and we used actors to

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inspire us to get the subtlety of the movements. I am a bit inspired

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by the books. Among the director's credits is his Oscar-winning short

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Father and Daughter, also wordless. There are similarities between this

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and The Red Turtle. What they have in common is that I really love the

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strength of the light and shadows. I use shadows a lot in animation. I

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tend to be quite sensitive in the acting, in the emotions. Not

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cartoony emotions, but more finer movements. At the end of the day the

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director has put together a very heartfelt film dealing with

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relationships in a natural setting. It may sound corny but I think it is

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a film about love. Natural love. He don't have to make big gestures, it

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just feels natural. On documentary in the Cannes Film

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Festival lineup shows how the magical cinema is being conveyed to

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audiences in India through travelling movie theatres, complete

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with lovingly maintained old-fashioned projectors. This

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machinery longs to the analogue age at its days are numbered. The

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documentary examines the changes that are taking place. The Indian

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filmmakers put together this documentary, launching their film at

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Canon marked the end of an eight-year filmmaking process. More

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than anything else this is a documentary that shines a light on

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the huge significance of cinema in rural India, by focusing on

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travelling mobile theatres. They used to be the only vehicle for

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movies to reach the villagers, because they travelled to villages

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far from standing theatres. They were significantly embedded in the

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cultural tradition of fairs in rural India. So aside from being the

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exclusive vehicles, there were also part of a ritual and cultural

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tradition that families have been following for so many decades. The

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heyday of the travelling cinemas is most definitely over. By one

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estimate nowadays they number in the single digits. Their decline has

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been hastened by digital technology, which has given communities

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everywhere quicker access to movies. The end of the analogue era, a lot

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of films are now available on the digital platform, so people can

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access films not only through DVDs but also on their mobile phones. The

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moment a film is released in the bigger cities somehow it finds a way

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into the cellphones and of course piracy is also huge. That's why

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people are drawn more, because they want to see the movie is quicker

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like everyone else. So less people are coming to the travelling cinemas

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because by the time they arrive to the villagers their films are stale

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and old. This canst documentary looks at the decline in travelling

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cinemas, by focusing on individuals. -- Cannes. The film is

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the story of three custody are striving to preserve one of the last

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travelling cinemas in the world. We encounter them at this moment when

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the world is changing in a fundamental way and the film uses

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this as a lens to look at the associations that this custody is

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have built into the travelling cinemas over the decades. This is

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really a film documenting how way of life has been rapidly disappearing

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forefather Lisa have been running travelling cinemas. This film has

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been well received. The kits have called it the witchy, a documentary

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which shows the 20th century celluloid splendour. -- critics have

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called. celluloid splendour. -- critics have

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Called it bewitching. That brings this edition of Talking Movies to a

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close. Remember you can always reach us online and you can find us on

:21:58.:22:02.

Facebook. From me and the rest of the Talking Movies production crew

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here on the French Riviera it is goodbye, as we leave you with a

:22:07.:22:11.

performance .

:22:12.:22:13.

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