Here we go. Poor animals and weird sex, the Lanthimos trademark. Emma Stone is always great, even in soft core porn. Enjoy!
Kinds of Kindness Trailer Debuts
Here we go. Poor animals and weird sex, the Lanthimos trademark. Emma Stone is always great, even in soft core porn. Enjoy!
![2025 Oscars: Can a Late-Breaker Still Win Best Picture? [POLL]](https://www.awardsdaily.com/wp-content/uploads/2024/10/gladiator-350x250.jpg)
Will any of these comments be back? They were important for me.
I hardly ever drink. But every couple of months I’ll have a glass of wine or two, if someone else pays for it. I’ve never had a beer in my life.
Drugs? Different story. In my wild days after college and in living the high life in Bangkok, there was no drug I wouldn’t swallow or snort. Couldn’t be a proper club kid otherwise. (and… I was a “club kid” for 20 years nonstop.) Those days are far behind me. Fun while it lasted. Honestly, I’m lucky to be alive.
I agree with you about all the movies you mention. I just never talk about them because there’s no point getting entangled in disagreements with genuine fans of those films.
But you know what? I’m not sure it would be a great idea for anyone to be trippin’ balls when they watch movies by directors like Gaspar No. Did you see Climax? Holy fuckin yikes.
LOL. Thanks you. You can now see I am not very smart. The thing I need at my college is a study partner like you. I know of Pasolini. I will add everything you tell me about to my list which grows longer every day. Thank you for not embarassing me.
1) I don’t do drugs, nor normally drink alcohol
2) I don’t need it. Ménière Syndrome. My everyday is like having 2 shots of Jägermeister, constantly, occasional huge vertigo crises (applying for disability, myself)
What I mean, I didn’t have any single difficulty to appreciate the pure genius and justified weirdness of Everything Everywhere All At Once, Colossal, The House that Jack Built, and plenty others. Titane… looked to me so pretentious and fake, that I simply couldn’t ever engage with it. I recognize some talent is inherent to every aspect of the film, but I felt it was a waste, overall and my personal impression, it was a bluff (I have the same impression with most of David Lynch’s work, for the matter, specially Eraserhead)
I guess that the year that “Titane” won, the jury had free access to substances, I must say…
Should be mandatory, tbh. Or at least encouraged.
Movies are waking dreams in which we can unplug from our connections to ordinary consciousness. People who try to watch movies while they cling to concerns of the outside world only end up ruining the cinema experience for themselves. They’ve forgotten how to leave the world behind for two hours and let themselves be swept away by all the genius artistry onscreen.
I guess that the year that “Titane” won, the jury had free access to substances, I must say… QT tried to defend rewarding Moore for its filmmaking, but honestly, Moore’s “Bowling for Columbine” could really be a better option for rewarding artistic merits beyond political speech. I remember watching “Titane” after winning Palm d’Or and wondering how so much talented, intelligent people bought that as anything more than nihilistic provocation pretending to pass as an “auteur” film. “A Serbian Film” with all its controversy, at least did have something to say, politically and satirically, same with “The House that Jack Built”, which would have made a way better option for Palm d’Or than “Titane”, supposedly playing at the same game. “Titane” I felt, it was like a child pretending to be daring. And not that aptly directed… acting was extremely good, and thus an acting award for any of its two stars, would have been totally justified, but the writing, the directing and the film itself? Ugh. Normally I give second chance to celebrated films that I disliked, but “Titane” is in the rare category, that I won’t probably go through that boring mess, again.
(I’ll also respond to your response to me here because my counterpoints to this comment and that one intersect)
I think we have very different reads on how the Palme is awarded. Famously, when Michael Moore won the Palme, Tarantino (the jury president) told him that it’s for the filmmaking, not the politics. The story, both in rumors and in the jury’s press conference, is that Titane won the Palme not because it was a great or “daring” Palme winner but rather because it was the one movie all the jury members could agree on.
Concerning importance of filmmakers or relevance to festival history, I always try to approach Cannes awards from the point of view that most likely the jury members don’t have an encyclopedic knowledge of the filmmakers who are competing or the history of the festival. That’s very few “career Palme d’Or” predictions turn out to be correct: the previous one you could maybe place in there is Shoplifters but even then the jury decided against awarding an even bigger name like Godard (although Blanchett supposedly tried to make that happen) while the only other case you could maybe argue in the 2010s is Ceylan’s win in 2014. And the amount of second Palme d’Ors that happened or were very close while legendary filmmakers are ignored also dissuades me from the thinking that the legacy of these directors is integral: Östlund, Loach, Haneke and supposedly very nearly also Von Trier and the Dardennes (in the last case, a third win). And in relation to politics, eventually I’d argue that the jury has to watch approximately 20 films in 10 days, many of them political statements about various topics. Politics is rarely a selling point for one movie over another.
So, what does matter? I think at that rate of viewing (especially as many jury members might not be used to watching that many films in that short a time), the preferences might become a gut thing (and I’d imagine the personal dynamics of the jury play a large part). I think it’s notable that both of the previous two juries mentioned that the audience reaction to Triangle of Sadness and Anatomy of a Fall respectively were part of why they wanted to give those films the main prize. In general, in recent years it feels like broadly entertaining films have triumphed over the more heavy traditional arthose fare.
I think you’re think of the The Decameron, The Decalogue is Polish. And depending on which version of Arabian Nights you’re thinking of (I was thinking of Gomes but Pasolini would also apply), there’s a third Italian film
hope you like it as much as I do. It was one of the first Rossy de Palma roles, and actually she fought for her funniest bit, which as consequence, also changed the ending that Almodóvar had planned. De Palma said on an interview, that her role was intended to be mostly a cameo and thus, forgettable, but she fought for something to chew and got it, in one of the funniest moments in the film
Thank you a million times. I have to choose what to watch first.
Well, then I will give you a couple more that are more adult and require some work by the viewer. Both have squeamish moments, but I don’t think anything to dismiss the film.
1) Benediction – This is the way bio-pics should be made. It’s the story of a second-rate poet whose life covers most of the 20th century. Born to a wealthy family he still went to the war. He had mental problems after, and there he met another poet, a poet whose work was much stronger, the other guy is probably the best know english language anti war poet to come from WW1. Now I know that probably no one can name any, but his work is devastating none-the-less. I won’t continue on, like a real life there are so many shifts and turns. And the ending, should you be able to understand poetry upon one listen, will devastate you. (i purposely left out the poet’s since I don’t want you googling them!) The leading actor is Jack Lowden who is spectacular. He’s also spectacular in the British spy series, Slow Horses.
2) I just watched it again last night and my opinion of the film keeps growing. An isolated, closeted 20ish Scottish farmer played by Josh O’Connor is a real drunken loser. But then along comes an expert farmhand from Romania whose own farm failed. He’s also from a much hated ethnic group. The two spend a week on top of the mountain tending to sheep and sheep related issues.
This is one of the most unique films I’ve ever seen. It’s almost like the writer/director was challenged to use every known bodily fluid in at least one scene. They are everywhere! But this is a farm, and nothing is gratuitous. What draws me into this film is that no other film has such a strong sense of place and setting. The cliche is to state it’s a character in itself, but that’s understating it here. There is never a scene in which the location is trivial. Because of that we see lots of animals in ways most humans don’t. I’ll leave it at that (but don’t worry, there’s no killing of animals for food or profit – but there is definite graphic animal anatomy going on)
This is a wonderful story that works in so many ways. I give it my highest recommendation.
it was the first I saw – I don’t think you need to see them in exact order. But I would definitely watch a few before the cut-off of 1999’s All About My Mother.
You got me drooling all over myself. Thank you so much again.
It has THE famous scene with Marcello and Sophia
How much I love you for naming this Italian movie that I never knew about. Winner of the Oscar. Thank you a million! Now the job of finding it.
LOL. You must learn to be more open to finding men such as this in your kitchen.
Thank you, I trust you by now. Chronological is a good idea but already I want to see Women on the Verge of a Nervous Breakdown too much to wait.
Today already I set a time to watch 1) Women on the Verge of a Nervous Breakdown. I checked in on it already to see all the color.
The GAY Content I live for. Noplace anywhere else on any movie site had information this good.
I found the all-boys school sports talk to be realistic. I never went to such a school, but when you get a bunch of males that age together, they will compete even if on a friendly basis. I also liked that one of the gay kids was the sportiest of them all. I know this is the exception for many schools, but it’s sometimes true and I think it’s important for even the sportiest, athletic gay kids to have role models. (And I am not talking about the gym rat variety)
But I think I recommended because it’s an early Andrew Scott film where he gets to play gay. And he was probably what elevated the film for me into a favorite film.
Yesterday, Today and Tomorrow I suppose
It was cute and all and very moving at the end, but also a bit traumatic, what with all the violence, verbal and physical, and Ned making a fool of himself most of the time, I had to pause repeatedly and take a deep breath. It also reminded me of my ambivalent feelings towards men: for example, when Ned says “this was a blow but it wasn’t as if the rugby team would be congregating in my bedroom.” and it turns out the rugby team IS congregating in his bedroom, on the one hand, it could be a great scenario for a gay porno, but in real life, it’s more likely the players will be agressive or worse bore us to death with sports talk, as indeed happens in the film.
Yeah, that´s amazing, isn´t it?! 15 years already… Time flies by, especially when you are busy doing the things that inspire you! 🙂
I think that only counts for back to back wins. Nomination is a different thing all together and big filmmakers can have back to back nominations if they’re popular, at least in BP. Lanthimos is on a role. His last two films have been nominated and he has been for BD. This year is weak so a BP nomination doesn’t seem that if the film is good. His films are well made so it will likely get some tech nominations and the big question is if will be strong in the major categories.
Yeah, everyone here is great (maybe with one or two exceptions). You’re a welcome contributor and it’s nice to have you here. It’s quite different from other sites and everyone is cordial here. We respectfully disagree and people on this site are only to celebrate and talk about films. We appreciate movies here and we also appreciate everyone has a different opinion. Other sites are about hating movies, filmmakers and other posters. It can get really depressing. I have checked out Hollywood Elsewhere, but I refuse to comment because there’s nothing to gain from and just reading it alone is bad enough. It made me run for the hills.
yeah, but it’s not available, but I definitely want to see it
and?
It’s not the greatest movie, but a very good example of the genre (in my opinion)
Women on the Verge of a Nervous Breakdown is one of the best comedies ever made. It should have won Best Picture, Director, Actress, Original Screenplay and Foreign Film, that year. It was nominated only for Foreign Film, and lost to Pelle the Conqueror.
Best Picture was Rain Man, which also took Actor, Director and Original Screenplay. On Acting, the snub was Klaus Maria Brandauer, magnetic in Hanussen (also nominated for Foreign Film), and honestly, despite the strong nominees for Actress, Carmen Maura should have been nominated and could have even won in front of Foster (winner, for The Accused), Weaver (Gorillas in the Mist, who come she only has 3 noms and no win???), Close (The Dangerous Liaisons, also really deserving for a win), Streep (A Cry in the Dark) and Griffith (Working Girl, only looks weaker because she was in a comedy… she would be the one I would trade for Maura, but Griffith was excellent as well)
Just to underline how great that movie is, just a reminder: it spawned a Broadway musical, and so far, despite Jane Fonda’s efforts, it has avoided the curse of having an American remake.
The Flower of my Secret features two supporting performances by 2 Almodovar icons that are totally Oscar-worthy and a memorable acting duel (Rossy de Palma and Chus Lampreave). It’s a film I despised on first viewing despite that, and some creative visuals, but it won me over with a second viewing last year. Kika features another Oscar-worthy supporting performance by Rossy de Palma, who would be again totally Oscar worthy (Nathaniel Rogers agreed on that) in Almodovar’s Julieta, one of his less known films (actually de Palma was the best thing there, the film was very good but somewhat not memorable or iconic).
OT: I watched Handsome Devil as per your recommendation.
I think that Dodge goes for $35,000.
Just out of frame in that photo is a cluster of little brick homes on the edge of my very small town. That’s a horse farm with the white fence, 3 minutes walk from my door. Past that, another 5 minutes walk, is state park botanical garden.
For coffee I go to my kitchen. Where I’m dismissive of men I might find there.
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The Lord sent that Dodge to my neighborhood so that I might see the truth and the light and the glory of His creation — in service of another “softcore porn” movie.
…I can’t see the bottom
Somehow I doubt that.
Oh, I love Fleabag, especially Season 2!
If you like Josh O´Connor, I can recommend “La Chimera” by Alica Rohrwacher – he is very charismatic in it.
Carpenter (one of the greatest American storytellers, if you ask me) was never nominated as either Director, Writer or Composer and only one of his films got ONE Oscar nomination (Starman, Male Performance in a Leading Role, for Jeff Bridges). He has never been proposed for an Honorary Oscar, despite having at least 2 of the greatest genre films (or just films) of all time, like Halloween and John Carpenter’s The Thing, both (and some other work by him) being among the most influential films ever made, re-defining genres and even creating elements copied ad nauseam since then.
So yeah, just to show off how irrelevant Oscars are, at core. Marilyn Monroe, arguably the biggest Hollywood and movie icon, wasn’t even nominated, despite several chances to do so (Bus Stop, The Seven Year Itch, Some Like it Hot and The Misfits being the 4 most notable ones). Oscar is a prize that only a few times gets it completely right, but most of the time, their field for “consideration” is so small, that anything unusual has a hard time to get nominated (Maria Bakalova, the most unusual exception, but she was kind of undeniable, once you actually see the film), and not to mention to win (EEAAO would be an unthinkable winner, before 2022)
On the other hand, the intensive use of social media and Twitter/X in particular often leads to an even more irreconcilable clash of opinions.
On twitter we call this a subtweet.
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Aww, very sweet of you to say.
It’s not that I’m all that funny. I’m just desperately needy. So I throw out dozens of offkey wisecracks and hope that a few of them might stick.
For every person on twitter who gives me a laughing/crying emoji, I’m sure there are 20 others who are sick of my shtick.
Dominik! Yes! I think I sent you the Happy-Go-Lucky screenplay.
Then you and I had a fun chat about what was happening in the bunker of our AwardsDaily War Room that year. Good times!
[Edit: That was 15 years ago?! How?!]
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This list is SO GOOD. I thought someone would name 4 or 5. You show me how much I have to see and more to learn, Thank you, Ferdinand.
Two from Italy, Paisan + Decalogue! I want to find Touch of Sin first of all.
Yes Sammy, you make me want to see it again. Anthology I see now, the different stories carry different tones. A good anthology film will exercise all our emotional muscles 🙂
You’re welcome, and it’s a great film. Bruno Delbonnel’s “breathtaking” cinematography, Coens’ sharp writing, interesting characters in each storyline,…
A must see for any cinephile out there.
I should know those. I was not thinking of how to define anthology film. I understand better now.
I forgot about that one. I was not sure what anthology film is but now I get it. Thank you.
Lanthimos won’t win BP ever but who cares really..?
He will be in good company with Lynch, Kubrick, Hitchcock, Welles, and others… 🙂
“I didn’t see American Sniper.”
You didn’t miss much. It’s a piece of trash.
In my box set that I have not opened. I have these 4 from the list I see from Jesus.
1) Women on the Verge of a Nervous Breakdown
3) What Have I done to Deserve this?
6) Law of Desire
9) Dark Habits
I then have these others, Kika, Flower of my secret. I am missing the most all important All about my mother + Talk to her.
Not bad! In chronological, they are all not easy to find on a bluray. Some are hard to find on streamer for lost cost.
Thank you for your time to give your advise.
Lanthimos is in direct collision course to win an Oscar in the next 5 years. But Best Picture? I think it is a case like Kubrick.
I judge Coppola’s level for “Tetro” and the re-edit of “The Godfather, Part III” which is a total masterpiece whatever naysayers say… and actually my fave out of the 4 Godfather films. The first 2 were more groundbreaking, but III -and its redux – were way more daring, and the climax was operatically masterful.
If I had to recommend the top 10 must-see by Almodovar…
1) Women on the Verge of a Nervous Breakdown
2) Pain & Glory
3) What Have I done to Deserve this?
4) The Skin I live in
5) All About my Mother
6) Law of Desire
7) Parallel Mothers
8) Talk to her
9) Dark Habits
10) Bad Education
if you ask me tomorrow, I may give another order, thought.
I see it more, with the international political climate, a golden chance to do a political statement (anti-Trumpism, which is not exclusive of the USA, in case anyone is disinformed, we have our own Trumps on almost every country) and also reward an artistically celebrated “new voice” – they DID give Palm d’Or to Tarantino with his 2nd film.
It’s really a golden chance to do a lot of things at the same time, with their Palm d’Or. If Megalopolis wasn’t around, I would place it as a likely winner, for logical reasons.
yes, we have the precedent of Birdman/The Revenant winning back-to-back Best Director Oscars. But I tend to think that 1) both films were like, total opposites, showing outstanding range by Iñarritu. Lanthimos, from the trailer looks to be doing same, but in some different fashion. Different enough, so they give it a pass? Till we have the reviews, I am in disbelief.
the key is that Cannes looks first or foremost, to have a winner that may look great or “daring” in their history of Palm d’Or. Even “Fahrenheit 9/11” fitted that mold. Or “Titane” as overrated as that film is. Same than Oscar Best Picture: the winner MUST be something AMPAS can disguise its embarrassing afterwards, from “Around the World in 80 Days” and “The Greatest Show on Earth”, to “Crash”, “A Beautiful Mind” or “CODA”… they are all terrible Best Picture winners (not that they are terrible films) but no one really can question WHY they won, the question is always why another contender couldn’t defeat them.
That´s true, Ryan has a great humor.
Regarding the angry tone in many articles, I think it has to do with two things: Firstly, the political situation in the US has been very tense for many years, with two political camps hostile to each other and a social climate in which conspiracy theories are spread and people can hardly have objective discussions. On the other hand, the intensive use of social media and Twitter/X in particular often leads to an even more irreconcilable clash of opinions. That’s why I see Sasha’s article, for example, more as an attempt to pursue a political agenda and secondary film discussion.
Some well-regarded/good ones:
Intolerance
Fantasia
Paisan
The Tales of Hoffman
Le Plaisir
Kwaidan
Mystery Train
Decalogue
Dreams
Night on Earth
Waking Life
Three Times
Cloud Atlas
A Touch of Sin
Wild Tales
Arabian Nights
Certain Women
The Ballad of Buster Scruggs
Wheel of Fortune and Fantasy
The Ballad of Buster Scruggs got a few nominations. And I guess Babel, Pulp Fiction and (based on what I’ve read about it) How the West Was Won could be thought of as somewhat comparable to anthology films
Buster Scruggs.??
All About My Mother and Talk to Her are his best two in my opinion. But I think to get maximum enjoyment you need to be familiar with is unique style.
But you really can’t go wrong. I would just go through them chronologically. The first that I can really think of having an impact here in the US is Women on The Verge of Nervous Breakdown. Starts a bit slow, but eventually becomes unendingly hilarious. Which is different than most films that totter on the edge of reality and heartbreak.
Are there any good anthology films?
What is happening here? LOL. We are sliding down a hill where I can’t see the bottom.
Please, no reason to say sorry. I am grateful to find out when I am wrong about something. I was not reading carefully the caption on the photo of Ayrton Senna. On the cover of the magazine.
Everyone on this site are the nicest people. There are other movie sites that I will not mention where the contributors all argue with each other. They think they are performing on a stage. I walk away from those discussions. Disagreements here, they reach accord and the contributors stay friendly. I like it here.
Please, you can stop answering my question. LOL. I know too much now about this car. You spoil all the mystery. Thank you for caring. I want you to go live your life now. LOL.
Do you live on a farm? LOL. Where do you go for caffè? How much is the price of the Dodge car? Do they give away the orange ones for free? They should. LOL.
This is the conversation I come to Awardsdaily to read. Where every one knows what they are talking about and explains with intelligence. I am lucky I found this place.
Can someone smarter than I am please say if *anthology movies* get in the awards race? I can’t think of any.
I believe it to be true that all movie trailers and promotions and adverts. I don’t watch them.
Ryan is funny in discussions here and even more in a chat conversation on Telegram. More of the authors here should have the humor of Ryan and Joey. Some of the leading authors are always angry. If they try to make a joke it is from a mean place in the heart.
Does Sasha Stone have her Twitter comments shut off? Nobody replies to her. I am scared to. LOL. I like to read her writing but only about movies.
Thank you for saving me the trouble + money + time. If I wanted to see war I would watch the TV all day today. Are there people in USA starved to see violence so much? What makes those people be that way?
Did I miss our anticipated films poll? I saw the list but I didn’t seen the actual voting for our top films.
There was this whole thing where the jury was really divided in some way on Crash (which is why it won a special award and not one of the main awards) and at least Cronenberg seems to think the “division” was just that Coppola really hated the movie. Here’s a bit more about it: https://www.indiewire.com/features/general/cronenberg-coppola-cannes-jury-prize-crash-1996-1234579782/
Ooh, I just bought an early access IMAX ticket for this, so I will get to it on the Monday before it opens. (Check your local chains, I doubt it’s a local thing).
I felt like Garland was just trying to duplicate war horrors he’s seen in other far better films. Like with the truckload of dead bodies. There was no narrative here, no point was made.
What really stymied me in that scene was instead of asking “what kind of American are you” he didn’t ask “what kind of press are you?”
or “whose truth are you telling?” I feel like here in the US, the press is the major “institution” dividing Americans, and the politicians are relying on the press to perpetuate alternative sets of facts.
The vast majority of Americans are largely disengaged and indifferent and are simply going to dispassionately vote on tribal lines not thinking of any consequences.
That was a great year in Cannes, 1996. I just re-checked that Coppola was Jury president. Do you have any behind the curtain information about the voting process in that year? Are the rumours about Coppola didn´t like Crash?
there is not such thing as a justified war. There’s always something rotten behind the curtains, pretending to be “good”, but actually manipulating masses into polarization. Specially noticeable on civil wars, how two (or even just one) powers try to mass manipulate everyone into opposite polar points and just take benefit on that.
I don’t fully agree, I think plenty of it is pretty horrifying and the combat scenes are shot well.
But it’s hard to have an anti-war position while also saying that the war is completely justified and rightous.
I think we are supposed to be horrified.
But it’s about the same as watching a friend play Call of Duty. It’s boring as hell.
My one hope is Mike Faist and Josh O’Connor snogging, but yours is good too.
In some ways, I’m not even sure it’s anti-war, given everyone seems to think in the movie that one side is completely justified.
It would also be very funny if Cronenberg won the Palme when Coppola brought his new movie to Cannes because of the whole Crash situation (which weirdly is one of only two times a Cronenberg movie has won anything at Cannes, the other being Julianne Moore for Maps to the Stars)
Baker is certainly a strong option as well. With Cronenberg, it would be wonderful if he could actually win but eventually the genre buy-in might be too high with his movies for him to ever win the Palme (barring an aberration like the Titane win, and even then Cronenberg’s movies are less in your face, which might hurt him in comparison to for example The Substance). I’d also maybe highlight Payal Kapadia as a very promising option and Jia Zhang-ke comes to mind as another person waiting for a Palme win (although I read somewhere that this movie supposedly was quite divisive with the selection committee)
I´m also curious to see how well the new Sean Baker “Anora” and of course the new Cronenberg “The Shrouds” will do. Cronenberg has yet to win the Palm d´Or thus I have both films on my list of potential winners.
I’d expect the critics to go easy on Coppola at least to some degree this time..! 🙂
War is Heck.
I didn’t see American Sniper.
I wouldn’t say this movie is anti-smart, but more pro-ignorance.
This movie may as well be called “Baby’s First Anti-War Movie”
The most anti-smart movie since American Sniper?
Civil War is the dumbest movie imaginable.
I have one hope for Challengers. That Josh O’Connor is great in it and it draws people to his earlier film, God’s Own Country in which he gives an astounding performance in an astounding film, It’s one of my favorites and I’m of the opinion it’s an undiscovered gem.
Look at this.
(Only thing stopping me from feeling embarrassed is that I’m so proud of myself for being man enough to admit when I’m wrong.)
2023 Dodge Challenger.
Factory color paint name:
“Plum Crazy”
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Guess what. I fucked up!
I totally showed my ass with my silly know-it-all ability to identify that car.
I stopped at the smalltown grocery store across from my house this afternoon.
And when I came out? Parked in the lot? A sporty muscle-car IDENTICAL to the one that Bella Baxter drives in Kinds of Kindness.
It’s not a vintage Mustang at all.
It’s a car that deliberately mimics the Mustang.
It’s a Dodge Challenger. 2023.
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Miyazaki films? At least the villains in his films aren’t really villains. There’s a lot to love about his films.
Challengers has big raves. Zendeya could get her first Oscar nomination. Not sure about the film itself but Guadagnino could be a Challenger in director. He’s still got another film Queer, starring Daniel Craig. It could be a big year for him.
Of course Fremaux might make those kinds of comments (what I meant by “officially” is that the rules only discuss the jury giving out these awards) but at least based on recent years, if he’s been doing that kind of stuff, it doesn’t seem like it has worked: Östlund winning a second Palme over directors considered more “due”, the Dardennes supposedly coming very close to a third Palme win, Tarantino not winning anything despite the positioning of Once Upon a Time… in Hollywood etc. The only time I’ve heard of Fremaux feeling like a possible influence was when at the press conference he talked about Winter Sleep in a way that made that movie the frontrunner to win the Palme before anyone had even seen it but even there, it was probably more about the perception of the frontrunner than anything that had incredible influence on the jury itself.
Yeah, that could be the case if it’s a close race. The fact that he win Venice last year could count against Lanthimos. It’s go to be a clearly better film to win, probably.
At this point I’d expect something between the 40s and the 60s. (That doesn’t mean the film won’t be great though.)
Oh absolutely, I wasn’t trying to suggest that he’d straight up block the film from winning. Maybe just highlighting how another top contender hasn’t recently won a major festival award would be a significant enough intervention. But if, as Ferdinand ,who is infinitely more knowledgable on Cannes than I am, says, he’s not even part of the discussions at all, then this is pretty moot anyway.
However, I do maintain than even the jury itself might consider some form of ‘dueness’ when choosing.
I wasn’t thinking any of those would win. I’m expecting something else will win. Ferdinand seems to know more about the contenders so I defer to him as the unlikely winner. The ones you mentioned are either too safe or too far off the charts.
If it’s highly acclaimed, it will have no issue of being nominated. It’s only about the quality of the film. The fact that it has the same director, actors and production means the film will be similar. I didn’t expect it to be different stylistically but it is certainly different narratively.
I don’t think he’d dare to interfere as that will likely leak and completely destroy the integrity of the award. He might say what he prefers but he’s unlikely to object to a particular filmmaker winning. If he doesn’t like them, he’d probably not even invite them or do something else. A direct intervention in the voting is unlikely unless it is to make the rules clear for the jurors.
There are movies in which kindness plays a secondary role, not even seen until the end, and even then if you only think of it. Past Lives comes to mind. It was a difficult situation for the three main characters but not once was there ever any acrimony from one towards another. They all treated each other with respect.
I think this is what elevated the movie to something unforgettable. If the two men “fought” over the female, it would be just another forgettable melodrama. The kindness everyone exhibited towards each other just made the ending hurt a little more. Sometimes not everyone can “win” but everyone can still maintain a strong sense of humanity. And that made me, at least, love all three of them.
With The Apprentice, the festival might also just be trying to build a relationship with Abbasi who they seem to think is a promising filmmaker. However, I don’t really think that movie immediately screams Greta Gerwig and in the past juries have specifically avoided awarding these kinds of American stories that seem like they fit very easily into prestige genres/Oscar discussion (which is why I think people highlighting the Oscar track record of the Palme d’Or in recent years are misrepresenting the central idea, which is that Cannes movies in recent years eventually became Oscar movies rather than Cannes being an easy launching pad for movies that are already heavily positioned for Oscars). I think Megalopolis is in a better position in terms of that stuff because it seems very odd but some of the viscerally negative comments that have come out in stuff like the THR article imply that it’s not going to be for everyone.
I’d say Arnold and Gomes are the ones I’d say are the obvious predictions for the Palme at this point.
At least officially Fremaux doesn’t have a say in the Palme winner. If they want to give one movie an acting award and the screenplay award or the Prix, the rules say these awards can be awarded “upon dispensation of the festival”, which means that Fremaux might be the one to give the go-ahead there.
I think kindness can become mixed up with non-romantic love and friendship in movies to a degree where they become inseparable (or if you add a religious element, it becomes grace and you get closer to stuff like certain Dardenne movies). But some post-Magnolia films that come to mind: the Paddington movies, Marcel the Shell with Shoes On, anything by The Wachowskis post-The Matrix and Wonderstruck. I guess this list leans quite heavily on kids’ movies, although that might be just because those movies are less likely to center the less kind characters even if other movies are also telling stories about kindness or something comparable.
I am hopelessly behind on Almodovar. Sadly, they don’t appear out of nowhere here on a cable channel. One really needs to seek them out most of the time. And I forget.
(Mini-rant on streamers) – They will often only push new stuff, and they will pushe the same crappy film 5 times on the main page you scroll through. Not sure who this crap is designed for, but I know I am not in that group.
At least Netflix occasionally will have a sub-category called “films you may have missed” in which their made-for-Netflix movies are featured.
But all of these streamers fail to promote their constantly rotating catalogue enough.
oh, it’s only 30 minutes!
I think you will find the final moment to be very meaningful.
I remember Ryan and me had some funny discussions about that film when it came out 😀
It would be amazing if Emma won a third “acting” Oscar so young considering all four actresses who won at least 3 “acting” Oscars were in their 60s.
Hepburn
Bergman
Streep
McDormand
All of them won their third acting Oscar in their 60s.
Emma doing it in her 30s would be impressive.
Jacques Audiard’s latest film starring Zoe Saldana and Selena Gomez is the one to watch out..!
If Megalopolis ends up in the universal acclaim range (80+) it will then not only become the favorite for Palm d’Or but will also set itself up for major Oscar consideration…!
I think a lone screenplay nom looks like the most plausible scenario at this point unless it suddenly becomes the main Searchlight pony.
the “Coppola” comeback or swan song card, we simply can’t ignore. Given Cannes history, I’d say it’s really – beforehand – between The Apprentice and Megalopolis, if they don’t disappoint – and there’s no reason to think why they would. It could happen that Megalopolis is not on par with Coppola’s best or 2nd tier and just got in, only because of how much it’s been in the making… but with The Apprentice, the only possible option of not being that good and making in for competition, would be the Festival wanting media attention thanks to Trump (by the way, that also applies to all Awards in Award season).
Oh, I’m very sure you could. Me, I’ve never been any good at negotiating fair deals for sex.
Everyone is tired of the things I know. I wish I knew anything that was worth some money.
“Off topic, but there’s no obvious catch-all thread right now.”
Any topic at AD is always thrown open to become a catch-all thread. Especially this time of year.
(Only exceptions I might suggest are the obituary tributes that David write and always pours his heart into. That’s already obvious to everyone except for one reader.)
Trailer posts like this one are especially flexible for anything anyone wants to write. Because so little effort or thought goes into posting them.
I’ll check out Strange Way of Life sometime, but your assessment doesn’t make me feel any urgency!
I’m not sure Megalopolis is really an easy pick for the Palme. From the early word, the film seems to be really weird and quite likely very divisive. It’s possible that the jury digs it and then it wins big but it’s also quite possible that they won’t, or at least some jury members will hate it.
It belongs to the jury, yeah, but I think even they may consider such things when making their picks. And I think Fremaux has some influence? Although I’m not sure.
haven’t seen it yet, but both Pain & Glory and Parallel Mothers have absolutely meaningful final shots.
Yeah, this is just an announcement/TV Spot-like ad letting people know the film is playing at Cannes. The official teaser trailer on the other hand dropped two weeks ago, and also told us nothing, but that’s fair since it was/is promoted as a tease.
oh, I hated that film so much… acting was awesome, though
This post makes me want to revisit Mike Leigh’s Happy-Go-Lucky
almost everything is an ad, and people tend to forget about it… music videos and the songs themselves work as ads for the live events and merchandising. Most of big Hollywood productions, nowadays, work more as advertisement for the merchandising, than actual pieces of art, don’t they? Maybe we should blame George Lucas and his pals, for this.
of course, I say this, thinking Kinds of Kindness gets a similar critical reception to Poor Things (somehow I doubt it, once the fantasy element is taken away)
my bets on Palm d’Or are Megalopolis, and then, The Apprentice. Lanthimos probably aims for Director or Stone as Actress.
But really, Megalopolis is a film decades in the making, by a master, and The Apprentice is the new delivery of an author who wowed with his last two films (Border and Holy Spider) and the subject matter might be the icing of the cake.
Lanthimos’ film, before we see anything, is #3 at best, after those two, which, beforehand, look like the easiest picks for a Palm d’Or (remember, for those doubting about Trump’s youth being “rewarded”: “Fahrenheit 9/11” did WIN Palm d’Or.
I’m more of a happy Cryer than a sad Cryer. Things that make me happy and warm my heart make me cry much more than things that make me sad. Kindness restores my faith in humanity. Love can be relative, not universal. Anyway, I get your point is what I’m saying.
I’ve seen things, you people wouldn’t believe, mm. Attack ships on fire off the shoulder of Orion. I’ve watched C-beams glitter in the dark, near the Tannhauser gate. All those moments will be lost in time, like tears in the rain.
I’m sorry, I didn’t mean to correct you. I was just thinking I was misremembering where he died. I thought the legendary Brazil F1 driver was killed by a tyre in the Italian Grand Prix (I’m guessing the circuit was Monza, but maybe it was the San Marino Grand Prix at Imola). I’ve seen clips of it on the news and in documentaries and sports shows. My memory isn’t that great, but the Brazilian Grand Prix didn’t seem to fit. You’re a very polite and levelheaded young man. Some people get very defensive and think people are “correcting” them when it could be a simple statement of facts or just asking questions about something in the comment. I’m not bothered about those kinds of things. I’m mostly bothered by people who make statements as though they were facts and can’t back them up with evidence or logical reasoning. That annoys me. I tend to ask them to back it up or present strong reasoning for their claims. Some don’t like their statements being challenged because they would like to say whatever they want without having to face any pushback from others.
Sir, do you not know? Civil War continued.
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I hope with all sincerity that this film is devoid of deceitful irony or trickery.
I know that “love” is considered the ideal of human emotion. It conquers everything!
But I am on a different page. For me, there is nothing more important than kindness. Wouldn’t it be lovely to have a major director highlight such a basic human concept.
I am sure I am wrong, I’ve not seen everything. But it’s been awhile since we’ve seen a director base a film on such a thing. For me, I can’t think of anything since Magnolia. A film, when boiled down to its most basic, is about how important it is to have compassion in our lives. Similarly, we need kindness, it’s the core of what makes us human. We marvel when we see such behavior in a dog that nestles up to a baby, as if kindness is the rarest of attributes.
I know I am not one to talk, I can be overly cruel in my criticisms of people on here (and elsewhere) and my cynicism is my defining attribute. But nothing shakes my world more than when I receive unconditional kindness. It’s an emotion rarely explored in cinema.
I hope this is a groundbreaking film.
If we are to deal in sex lessons I would make a better deal than the one you recommend. LOL. Don’t you get tired of knowing too many things?
What you say is true. Il Venerdì magazine comes in my newspaper every Friday. Yesterday was only Thursday. I saw only the cover and the caption on the preview. I did not read about him yet. He was gone before I was born. Thank you for the polite correction. I will be more careful what I think to say in the future.
good thing you’ve seen everything!
How is 2033 looking?
this isn’t a trailer, it’s an ad
Now I know the difference is incidental. But I call it an ad simply because it tells us nothing.
I thought Senna died in the Italian Grand Prix. He’s a Formula One legend, but I didn’t get to see him, sadly. I was a big Michael Schumacher fan and he was the draw for me. I’ve been less interested in it since he retired. He had that accident and it has been sad to think of how his life has changed. Wish him well.
Yeah, that’s not the issue for this film. Plus this year will be very weak with not a lot of big contenders.
Cannes could have multiple reasons for not wanting Lanthimos to win. However, doesn’t the decision belong to the jury president? The competition isn’t that tough this year so Lanthimos could have a bigger chance to win.
I think it’s much more a question of quality than similarity.
[I’m not deleting this whole dumb wrong thing I wrote. Because I like to imagine that owning my screwups is sexy af.]
UPDATE:
Can confirm. The car she’s driving is a customized, modified Mustang. Model year must be between 1971 and 1973. Those were the only 3 years when the Mustang had those slick twin hood-scoops. See the orange turn signal lights on the side-panel fenders, front and rear? Those were only a feature from 1971 to 1973.
I think the tires on the movie Mustang are small diameter than original, which make it looks squat and hunkered closer to the ground.
Some sculpted modifications to the body make it look chunkier — like it’s ready for a drag race.
((Not that sort of drag race! God forbid. Or else this movie would be banned in several states, like Tennessee and Florida, and the MAGA State of Perpetual Gay Panic.)
That paint job is called Violent Violation Violet.
It was not a factory color option for Mustangs in the 1970s.
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Interestingly Poor Things did really well at the international box office. 112 million. In comparison The Holdovers made 44 million. So there is definitely an audience for these kinds of films whether people want to disparage them as weird or not, And Lanthimos does not feel overrewarded, so if this film is good and people like it I don’t see it not getting nominated.
In a similar vein, maybe Cannes will also not be too eager to award it (unless it’s undeniable) given Lanthimos won the Golden Lion last year.
Honestly, I doubt this is going to score big at Oscars… right after Poor Things took home some Oscars. Probably “too much of the same”: weirdness, sex, etc. Might be considered a repetition to some extent, and AMPAS may look somewhere else.
The smart play for the studio since it’s an anthology film where they’re all playing different roles in three different stories would be to submit everyone as supporting characters. Stone might not get bit by people grousing that she won three lead awards in eight years.
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I am here for Emma as always
For sure it’s a classic Mustang. The round headlights put it in the late ’60s or early ’70s. Also those tail lights that extend the full width of the rear end are typical of Fords from that era. (My first car was a vintage 1965 Thunderbird that had similar solid bars of tail lights.)
I think it’s a Mustang Mach I, but hard to tell for sure since all the chrome has been stripped off in this souped-up restoration.
Classic muscle car. So it’ll set you back a pretty penny.
Make an offer. Make a deal to trade for lessons in weird sex that it seems you’re eager and qualified to teach?
Who can say what is the car she drives? Is it new or classic? In Il Venerdì magazine here this week is the story of Ayrton Senna who had met his death in Brazil Grand Prix 30 years ago in 1994. These are the kind of men we celebrate to honor in our Italian news. We do not honor any knife murders in a more civil country. I am curious to know how much the car in this trailer is worth. The abuse the driver gives to such a beauty!
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I do not understand the hostility from some writers. Where is any *weird sex* shown in this trailer? They have a kiss, they have a lick. And so? I have said before —> if licking in sex is weird then we will all burn through eternity in Hell. LOL. This happy dog who drinks from a straw is not a terrible thing to see in my eyes. I have said it before —> it was written that Emma Stone tries *every way to have sex in Poor Things.* However her only activity in sex is the two more boring ways.
1ª she rides it on top, 2ª she receives it from behind.
If the Poor Things sex was any good, she would do oral and anal as does every normal girl. LOL. But she never does. As a prostitute in the real world she would be a failure.
I still want to own that purple car.
ok
Judging by that teaser the marketing is genius
Going to be interesting to see how the anthology/multiple role thing will go over with audiences.
The film I’m most looking forward to this year. Followed by Joker.