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Cannes 2013

Blue Is the Warmest Colour
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"Blue Is The Warmest Colour" (Abdellatif Kechiche)

Cannes (France, May 15-26). Prize, competition: Blue Is The Warmest Colour (La vie d'Adèle — Chapitre 1 & 2) by Abdellatif Kechiche (France, 2013). Prize, Un Certain Regard: Manuscripts Don't Burn (Dast-Neveshtehaa Nemisvosand) by Mohammad Rasoulof (Iran, 2013). Prize, Parallel Sections: Blue Ruin by Jeremy Saulnier (USA, 2013), shown in the Directors' Fortnight.
Jury: Klaus Eder, Germany, President ("Bayerischer Rundfunk", www.fipresci.org), Chris Fujiwara, USA ("Magazine F"), Jacob Jensen, Denmark ("B.T. - Berlingske Tidende"), Safaa Haggag, Egypt ("Al-Qahera"), Youngmee HWANG, Korea ("Movieweek"), Barbara Lorey, France ("epd Film"), Maja Bogojevic, Montenegro ("Monitor"), Rwita Dutta, India ("FilmBuff"), Pierre-Simon Gutman, France ("L'Avant Scène Cinéma"). Coordinator: Pamela Biénzobas.
Print sources. "Blue Is The Warmest Colour": Wild Bunch, Paris, T +33 (1) 53 01 50 32, edevos@wildbunch.eu, www.wildbunch.biz. — "Blue Ruin": Memento Films International, Paris, T +33 (1) 53 34 90 20, sales@memento-films.com, festival@memento-films.com.
Festival: www.festival-cannes.org

Reports

Style Versus Content. Among the many discussions I have had with esteemed colleagues at the film festival in Cannes a central theme of style versus content has emerged. Probably it's by coincidence it has emerged more than usual this year, but it strikes me as an important question in regard to arthouse cinema. Jacob Wendt Jensen's report. arrow.
The Directors' Fortnight and the Critics' Week. For many years, the Cannes Critics' Week was seen as the weak link of the Cannes film festival, lurching behind the shadows of the official Competition on the one side, and the media impact of the Directors' Fortnight on the other. But after a string of successes, those two parallel selections are finally starting to look like equals, and it is probably for the better. Pierre-Simon Gutman's impressions. arrow.
National and Aesthetic Diversity. This year's Cannes International Film Festival screened hundreds of feature films from different countries around the world in its various sections. The nationality of films didn't seem to matter, as co-productions and inter-national métissages abounded. The Cannes selection, therefore, exhibited national, thematic and aesthetic diversity. By Maja Bogojević. arrow.
Fallen Gods of Cinema. Democracy of the Cannes film festival — according to Safaa El-laisy Haggag. arrow.
Disclosing State Violence from the View of a Low-level Perpetrator. Youngmee Hwang reviewed Manuscripts Don't Burn directed by Mohammad Rasoulof which won the FIPRESCI Prize in the Un Certain Regard section at the 66th Cannes Film Festival. arrow.
India's Food for the Soul. India was a guest country of the 66th Annual Film Festival of Cannes as it paid tribute 100 years of Indian cinema this year. Yet the scanty presence of Indian films in the prestigious festival raised the eyebrows of film buffs worldwide, especially of those who have had relatively better knowledge about India and Indian films for more than a decade. By Rwita Dutta's report. arrow.

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Cannes 2013

bullet. Index
bullet. Style Versus Content
bullet. The Directors' Fortnight
bullet. Aesthetic Diversity
bullet. Fallen Gods of Cinema
bullet. Disclosing State Violence
bullet. India's Food for the Soul

Language editor:
Carmen Gray