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Cannes Film Festival 2014

Winter Sleep.
"Winter Sleep" (Nuri Bilge Ceylan)
"Jauja" (Lisandro Alonso)
Love at first Fight.
""Love At First Fight" (Thomas Cailley)

Claimed to be the biggest and most comprehensive film festival in the world, and attended by more than 5000 media representatives as well as the same number again and more of buyers, distributors and industry movers and shakers the Cannes Film Festival's 67th edition ran from 15 to 25 May. The main prizes ceremony including the accolade of the Palme d'Or, took place a day earlier than usual (24 May) because of the European Elections (on 25 May).

Of the 49 titles selected across the board (out of 1800 submissions) for the Competition and Un Certain Regard 15 were directed by women. In the past the selectors had been criticized for a lack of female balance.

Many of Cannes's favoured family were in the selection among them Ken Loach (Jimmy's Hall), Mike Leigh (Mr. Turner), Nuri Bilge Ceylan (Winter Sleep), the Dardennes Brothers (Two Days, One Night), David Cronenberg (Map to the Stars) and Olivier Assayas (The Clouds of Sils Maria). A young newcomer to the Competition although his films have been presented in previous Festivals, was Canadian Quebecois film-maker Xavier Dolan (Mommy).

The edition opened with Olivier Dahan's Grace of Monaco featuring Nicole Kidman and Tim Roth which attracted much negative criticism and closed with a restored digital copy of Sergio Leone's classic Western For a Fistful of Dollars introduced by Quentin Tarantino who was also on hand for a master class. For many a highlight was the appearance of Sophia Loren for a master class and also for the film she made with her son Edoardo Ponti, The Human Voice adapted from Jean Cocteau, preceding a restoration of her classic comedy with Marcello Mastroianni, Marriage Italian Style by Vittorio De Sica.

The late, great Mastroianni was the iconic poster image for the Festival, looming large over the red carpets leading up to the Lumière and Debussy theatres in the Palais des Festivals.

The Competition jury was presided over by Jane Campion, the only female director to have won the Palme d'Or (for The Piano in 1993). She said: "The Cannes Film Festival manages to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the Festival's seriousness about the art and excellence of world cinema." The FIPRESCI jury covered the Competition, Un Certain Regard, Critics' Week and Directors' Fortnight. (Richard Mowe)

Cannes (France, May 14-25, 2014). Prize, Official Competition: Winter Sleep (Kiş Uykusu) by Nuri Bilge Ceylan. Prize, Un Certain Regard: Jauja by Lisandro Alonso. Prize, Parallel Sections: Love At First Fight / Fighters (Les Combattants) by Thomas Cailley (Directors' Fortnight). Jury: Esin Kücüktepepinar, Turkey ("Radikal"), president, Jean-Michel Frodon, France (""), Pierre Pageau, Canada ("Séquences"), Paola Casella, Italy ("Europa"), Tereza Brdečková, Czech Republic ("Lidové noviny"), Olivier Pélisson, France ("Bande à Part"), Alissa Simon, USA ("Variety"), Richard Mowe, UK ("The Herald"), Frédéric Jaeger, Germany (""). Coordination: Pamela Biénzobas (France/Chile). Print sources. Wintersleep: Memento Films International, T +33 (1) 53 34 90 33, Jauja: NDM, T+52 (55) 5273 0230,, Love At First Fight: Bac Films, Franka Schwabe, International Sales & Festivals, Cell +33 (618) 13 47 74, Festival:


In Anatolia Where Climates Are All the Same... Esin Kucuktepepinar reviewed the FIPRESCI prize winner at the Official Competition: Winter Sleep (Kiş Uykusu) by Nuri Bilge Ceylan. arrow.
The Female Perspective: Gutsy, Enthusiastic and Free. One quarter of the directors in the Un Certain Regard section of the 67th Cannes Film Festival were women. Not enough to reflect the fact that more than half the world’s population is female, but still quite an achievement, considering that in the main competition there were only two women directors out of 19 participants. Paola Casella's report. arrow.
Poetics of (Sign) Language in Cannes Critic's Week 2014. A film without translation, without subtitles, without voice-over — but instead completely in sign language — came out of Ukraine: The Tribe (Plemya) by Myroslav Slaboshpytskiy. The winner of the main awards from this year's Critics' Week in Cannes, the oldest parallel section of the festival, opened with what you might call a most daring premise. Frédéric Jaeger's report. arrow.
Survival of the Fittest. When first-time director Thomas Cailley came to this year's Cannes Film Festival he had "zero expectations" for his debut feature Les Combattants, which was selected for the 46th Directors' Fortnight. Richard Mowe's report. arrow.
Israel at Cannes, 2014: A Record Year. While it sometimes seems that countries other than France and the U.S. are on a quota system at Cannes, at the 2014 edition of the fest Israel had a record year with five features, one documentary and one short (The Visit by Inbar Horesh) in official sections. Alissa Simon's report. arrow.
Visions of the World at Un Certain Regard 2014. Created in 1978, the section Un Certain Regard reached its 37th edition during the 67th Cannes Film Festival. On the evidence of this selection it stays true to its founding aims: to discover and to show singular films that renew cinematic expression, as much by their aesthetic as by their themes. Olivier Pélisson's impressions. arrow.
Kawase — A True Spirit of Nature. There are some directors whom we find regularly and who ensure a certain continuity in the festival. Cannes follows them and we do the same. Our love of Cannes rests on these particular affections. Among the many movies from filmmakers we see often in the official selection (the Dardenne Brothers, David Cronenberg, so on) there are the films of a woman filmmaker, Naomi Kawase. Pierre  Pageau's report. arrow.
On the Edge of Dreaming. The most versatile, subtle and innovative film by Argentinian Ricardo Alonso, Jauja collected splendid reviews in the international and professional press, and hopefully will push the director to the Cannes heights with his next film in Competition. Tereza Brdeckova's report. arrow.
A Milestone from an Exile on the Front Line. For most of those who have seen it, Silver the Water directed by Ossama Mohammed and Wiam Simav Bedirxan, has been the most powerful film presented in Cannes although it wasn't part of any competition, and it did not get any award. Its presence in the Festival might have been considered a sort of politically correct tribute to what is happening in the real world during the Festival. Until one sees Silver the Water. Jean-Michel Frodon's review. arrow.



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Cannes 2014

bullet. Index
bullet. In Anatolia
bullet. The Female Perspective
bullet. Poetics of (Sign) Language
bullet. Survival of the Fittest
bullet. Israel at Cannes
bullet. Visions of the World
bullet. A True Spirit of Nature
bullet. On the Edge of Dreaming
bullet. A Milestone from an Exile

Language editor:
Richard Mowe