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


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


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


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


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


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


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


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


characters played by Jesse Eisenberg and Kristin Stewart. Brought male


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


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


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


performance of Kristin Stewart playing the woman at the centre of


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


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


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


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


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


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


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


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


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


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


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


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


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


critique of greed driven financial capitalism in US factual television.


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


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


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


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


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


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


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


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


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


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


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


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


becomes a little preposterous but after all this film is entertainment


despite being sold as something more serious. They are stealing


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


Another American offering starring Russell Crowe and Ryan Gosling was


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


Ryan Gosling playing detectives. It was popular with audiences but


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


meet commercial imperatives rather than anything more original. Some of


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


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


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


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


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


rules forbidding interracial marriage. There are no histrionics


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


travelling from one midwestern community to another selling Magas


magazine subscriptions. There is an intense relationship with the


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


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


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


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


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


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


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


of two individuals who find themselves pushed to extremes by an


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


but encounters a bureaucratic nightmare and trying to get out of


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


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


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


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


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


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


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


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


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


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


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


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


dominating the competition in Cannes this year. Even male directors


traditionally associated with very macho, masculine movies are turning


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


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


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


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


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


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


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


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


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


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


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


seen by somebody so different. But despite the proliferation of


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


encouraging about the three female director Johnson, The Magician this


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


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


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


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


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


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


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


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


some quotas and positive discrimination are the way forward


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


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


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


through positive discrimination you do devalue the currency itself.


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


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


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


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


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


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


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


humour. Toni Erdmann tells the story of a workaholic Management


consultant on a work assignment in Bucharest and a retired piano


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


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


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


starts making some unwelcome appearances in her life. He invents


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


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


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


is something very aggressive. Imagine your father would do


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


mysterious sea turtle. It starts with being passed away on


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


director has put together a very heartfelt film dealing with


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


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


just feels natural. On documentary in the Cannes Film


Festival lineup shows how the magical cinema is being conveyed to


audiences in India through travelling movie theatres, complete


with lovingly maintained old-fashioned projectors. This


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


documentary examines the changes that are taking place. The Indian


filmmakers put together this documentary, launching their film at


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


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


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


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


movies to reach the villagers, because they travelled to villages


far from standing theatres. They were significantly embedded in the


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


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


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


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


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


been hastened by digital technology, which has given communities


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


forefather Lisa have been running travelling cinemas. This film has


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


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


called. celluloid splendour. -- critics have


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


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


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


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


performance .


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