Here is a quick numbers breakdown of my 2013 Cannes Film Festival coverage. I spent about 8 full days (I had two half days that I am counting as one) watching a total of 17 films (not counting the one I walked out on). So I managed to see just over two films on average a day with an average rating of 6.8 that I gave out. All in all, I saw a lot of daring films, many of which were hard to watch, but all were crafted among the best talent in cinema today. So while my ratings may seem a little on the low side, it was only because it felt appropriate to critique them on the upmost of scales considering the extraordinary stage they were presented on.

NOTE: Here is a few films that I did not get a chance to see either because of schedule conflicts or general availability of the release in the US after the festival. Some of the the following could have changed the list; Inside Llewyn Davis, Blue Is The Warmest Color, Fruitvale Station, Behind the Candelabra, The Immigrant, The Missing Picture.

My Top 10 Films from Cannes 2013:

#10 – Ain’t Them Bodies Saints

Affleck dominates the screen when he appears and makes a good case for one of his better roles as an actor. The sun-filled landscapes of Texas provides great cinematography.
Ain’t Them Bodies Saints review

#9 – The Dance of Reality

Although The Dance of Reality is a bit disorganized, the film was extremely playful and entertaining. Feels more like a theatrical play than a film.
The Dance of Reality review

#8 – Nothing Bad Can Happen

Do not be fooled by the title, enough bad and painful things happen in this film, and they will stick with you long after the film is over. Emotions are definitely evoked.
Nothing Bad Can Happen review

#7 – The Congress

Of all the films at this years Cannes Film Festival The Congress may be have the strongest and ambitious plot. The biggest downfall might be that it tried to achieve too much, a shame because it had potential to be much higher on this list.
The Congress review

#6 – As I Lay Dying

This film has to earn the most uniquely shot films of the festival. Several parts of the film are shot in split screen to show perspective and reactions of multiple characters at once. And it did it without it feeling too gimmicky!
As I Lay Dying review

#5 – Borgman

Borgman was this year’s Holy Motors or Dogtooth for Cannes, a film that cranks the bizarre factor to the max. Films that are unlike any others typically sit well with me.
Borgman review

#4 – Nebraska

There is not a whole lot that goes on in Nebraska, similar to the small towns that are featured in it, but this is a road trip/family bonding film that is extremely heartwarming and entertaining.
Nebraska review

#3 – Sarah Prefers To Run

Sarah Prefers To Run wonderfully allows the audience to make their own guesses on what results in the film because of how subtle the film handles much of what is shown. The film contains a great message of controlling your own destiny.
Sarah Prefers To Run review

#2 – The Great Beauty

The Great Beauty takes a few jabs at the current snapshot of Italian culture and does so by showcasing hilarious satire with magnificent cinematography. It ends up being a love letter to Rome, or at least the great beauty of it.
The Great Beauty review

#1 – Like Father Like Son

Like Father Like Son shows its cards nearly right away but it remains intriguing long after you think it has played its hand. It takes a rather simplistic plot and turns it into something of a complex story that explores every angle.
Like Father Like Son review

Thus far I have been very fortunate to get into each screening that I have stepped in line for, even though not every film I stood in line for was worth the effort. This is mostly surprising considering the level of my press badge in festival which has several levels of higher priory. Granted, I completely skipped trying to see the Coen brothers film Inside Llewyn Davis because some helpful Twitter friends alerted me of the crazy high demand. So far that film seems to be the talk of the town, though it is one that will be playing all over in the States, therefore catching something more obscure makes the most sense. I can only imagine that similar demands for Only God Forgives will be in store when it premieres in the coming days.

Tonight at the premiere of his new film, James Franco was in attendence and took the stage to introduce the film. I was within arms reach, do not worry, I did not measure, but it did allow me to capture some decent photos.

James Franco at premiere of As I Lay Dying

Borgman

Borgman sets its strange tone from the very beginning when a man who somewhat resembles features that of Jesus, long-hair and long-beard, awakes from his underground hideout by the sound of a sharp spear piercing down from the ground above. Yet Borgman is far from being Jesus-like; he is actually the exact opposite. That might explain why it is a priest who is seeking to kill this man with his spear from above. But Borgman manages to escape through a complex tunnel system. As he is making his escape he warns other underground dwelling friends of the danger.

After fleeing the woods Borgman ends up at a very nice looking home on the countryside. The haggard looking man walks up to the door and asks if he is able to use their shower. The man answering the door politely declines. Not satisfied, he knocks again and pretends to know the man’s wife as a last ditch effort to be let in. From there the film ventures into a dark and twisted joy ride of murders and manipulations.

Borgman is the first film from the Netherlands’ that is In Competition for the Palme d’Or in nearly forty years – though it contains more of a Greek new wave sense of style. This is an unique film that is hard to make comparisons to, but if Dogtooth director Giorgos Lanthimos created his own take of the home invasion film Funny Games by Haneke, you would get something close to this. The first two acts of Borgman are magnificent but the final act straddles the line of mediocrocy – which is not the only straddling that occurs in the film (reference the photo above).

RATING: 7.6

As I Lay Dying

James Franco came on stage to introduce the film at its premiere at the Cannes Film Festival and bluntly said, “This is a weird film.” Indeed it was. For better or worse, As I Lay Dying certainly felt like a literal interpretation of the novel, but as I mentioned before I have not read the book, therefore I cannot say that with absolute certainty. The acting in the film was very strong but the obvious standout is the film’s poetic and Malick like cinematography. Whether or not the film works may very well come down to one simple question, did you read the book beforehand?

RATING: 7

Read my full review of As I Lay Dying

At the very least, you must credit James Franco for even attempting to film what some consider to be a near impossible story to tell. William Faulkner’s classic 1930 novel, As I Lay Dying, features 15 different characters, each telling a part of the story in their point of view. Director James Franco does a marvelous job of recreating this by showing many parts of the film with a split screen that often shows one character speaking on one side and the reaction of the other character on the other side. Franco can now mark another tally under his growing collection of experimental films.

The overall plot of As I Lay Dying is a fairly simple one; a family travels on a journey to the town of Jefferson in order to fulfill the requests of recently deceased family member named Addie Bundren. The real story lies within all the details and burdens each character brings to the table. But the details are rather long-winded, which makes following what exactly is going on a bit challenging.

The biggest obstacle comes on the first day of their long-haul. The group must cross a river with their wagon that is carrying the coffin without the use of a bridge due to massive flooding. Their only option is to try crossing with the aid of an improvised ford, but it does end smoothly. One of the traveler’s leg gets badly injured during this mishap and requires some serious medical attention. I will spare some of the gruesome details that ensue when they attempt to treat the wound themselves.

I must confess that I did not read the novel before seeing the film and I think it was a real challenge because of that fact. There are indeed many films that you can get by just fine without having read the literature beforehand, however, I do not believe As I Lay Dying fits into that category. Not helping matters is a character named Anse (Tim Blake Nelson) who would give Bane (of The Dark Knight Rises) a run for his money at being more incomprehensible. The combination of his rotting teeth and extreme Southern drawl made it difficult to understand more than every tenth word he spoke. Even though As I Lay Dying is an English speaking film, the French speaking audience members at this screening likely better understood what was being said because they at least had subtitles to read.

James Franco came on stage to introduce the film at its premiere at the Cannes Film Festival and bluntly said, “This is a weird film.” Indeed it was. For better or worse, As I Lay Dying certainly felt like a literal interpretation of the novel, but as I mentioned before I have not read the book, therefore I cannot say that with absolute certainty. The acting in the film was very strong but the obvious standout is the film’s poetic and Malick like cinematography. Whether or not the film works may very well come down to one simple question, did you read the book beforehand?

So far only a handful of films that will be playing at this year’s Cannes Film Festival actually have trailers available. But as we begin to get closer to the start of the festival, more and more trailers being to emerge. We will be updating this page when new trailers are released, so check back regularly.

The Great Gatsby

Director: Baz Luhrmann

A Midwestern war veteran finds himself drawn to the past and lifestyle of his millionaire neighbor.

The Bling Ring

Director: Sofia Coppola

Inspired by actual events, a group of fame-obsessed teenagers use the internet to track celebrities’ whereabouts in order to rob their homes.

Only God Forgives

Nicolas Winding Refn

Julian, a drug-smuggler thriving in Bangkok’s criminal underworld, sees his life get even more complicated when his mother compels him to find and kill whoever is responsible for his brother’s recent death.

Inside Llewyn Davis

Directors: Ethan and Joel Coen

A singer-songwriter navigates New York’s folk music scene during the 1960s.

As I Lay Dying

Director: James Franco

Based on the 1930 classic by Faulkner, it is the story of the death of Addie Bundren and her family’s quest to honor her wish to be buried in the nearby town of Jefferson.

The Past

Director: Asghar Farhadi

Behind the Candelabra

Director: Steven Soderbergh

Based on the autobiographical novel, the tempestuous 6-year relationship between Liberace and his (much younger) lover, Scott Thorson, is recounted.

Jeune & Jolie

Director: François Ozon

The portrait of a 17 years-old girl, in 4 seasons and 4 songs.

Sarah Would Rather Run

Director: Chloe Robichaud

The Great Beauty

Director: Paolo Sorrentino

The story of an aging writer who bitterly recollects his passionate, lost youth. A portrait of today’s Rome.

Blind Detective

Director: Johnnie To

A cop is forced into early retirement due to retinal damage. But after witnessing a bank robbery along with a female inspector – who believes he has acute senses – they team up in hope to solve the case.

The wait is now over as the lineup for the 2013 Cannes Film Festival has been announced this morning. While a few film festivals such as Sundance and Berlin have already given us a small taste of what is in store for 2013, Cannes ultimately sets the stage for what is to come for the rest of the year’s festival circuit. Also, it is my pleasure to announce that Way Too Indie has been accredited to attend the festival this year, so stay tuned during May 15th through May 26th while we bring you up-to-date coverage during the Cannes Film Festival.

Now back to the lineup, it has been known for quite some time that The Great Gatsby would be the opening film of the festival and yesterday it was announced that Sofia Coppola’s The Bling Ring would open the Un Certain Regard program. This morning the rest of the lineup for the Cannes Film Festival was finally announced. Some of the more anticipated films that were announced today were; Coen Brothers’ Inside Llewyn Davis, Nicolas Winding Refn’s Only God Forgives, Steven Soderbergh’s Behind The Candelabra, Paolo Sorrentino’s The Great Beauty, and Sundance standout Fruitvale Station previously entitled just Fruitvale.

Unfortunately, absent from the announcement was Steve McQueen’s follow-up to Shame, Twelve Years a Slave. There was also no works from the onslaught of projects Terrence Malick has going on. And many people were disappointed to hear that Bong Joon-Ho’s rumored to play film, Snowpiercer, would not be done in time for the festival.

The full lineup for 2013 Cannes Film Festival:

The Great Gatsby (director Baz Luhrmann)

Behind The Candelabra (director Steven Soderbergh)
Borgman (director Alex Van Warmerdam)
Un Chateau En Italie (director Valeria Bruni-Tedeschi)
The Great Beauty (director Paolo Sorrentino)
Grisgris (director Mahamat-Saleh Haroun)
Heli (director Amat Escalante)
The Immigrant (director James Gray)
Inside Llewyn Davis (directors Joel & Ethan Coen)
Jeune Et Jolie (director Francois Ozon)
Jimmy P (director Arnaud Desplechin)
Michael Kohlhaas (director Arnaud Despallieres)
Nebraska (director Alexander Payne)
Only God Forgives (director Nicolas Winding Refn)
Only Lovers Left Alive (director Jim Jarmusch)
The Past (director Asghar Farhadi)
Like Father, Like Son (director Hirokazu Kore-eda)
A Touch Of Sin (director Zhangke Jia)
Venus In Fur (director Roman Polanski)
La Vie D’Adele (director Abdellatif Kechiche)
Shield of Straw (director Takashi Miike)

All Is Lost (director J.C Chandor)
Blood Ties (director Guillaume Canet)
The Last of the Unjust (director Claude Lanzmann)

Anonymous (director Mohammad Rasoulof)
As I Lay Dying (director James Franco)
Nothing Bad Can Happen (director Katrin Gebbe)
Bends (director Flora Lau)
The Bling Ring (director Sofia Coppola)
Death March (director Adolfo Alix Jr)
Fruitvale Station (director Ryan Coogler)
Grand Central (director Rebecca Zlotowski)
L’Image Manquante (Rithy Panh)
L’Inconnu Du Lac (director Alain Guiraudie)
La Jaula De Oro (director Diego Quemada)
Miele (director Valeria Golino)
My Sweet Pepperland (director Hiner Saleem)
Norte, The End of History (director Lav Diaz)
Omar (director Hany Abu-Assad)
The Bastards (director Claire Denis)
Sarah Would Rather Run (director Chloe Robichaud)
Wakolda (director Lucia Puenzo)

Max Rose (director Daniel Noah)
Weekend Of A Champion (director Roman Polanski)
Muhammad Ali’s Greatest Fight (director Stephen Frears)
Stop The Pounding Heart (director Roberto Minervini)
Seduced & Abandoned (director James Toback)
Otdat Konci (director Taisia Igumentseva)
Bombay Talkies (directors Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar, Karan Johar)

Zulu (director Jérôme Salle)

Above the Hill (director Raphael Nadjari)
Até ver a luz (director Basil da Cunha)
Blue Ruin (director Jeremy Saulnier)
The Summer of Flying Fish (director Marcela Said)
Henri (director Yolande Moreau)
Ilo ilo (director Anthony Chen)
Jodorowsky’s Dune (director Frank Pavich)
L’Escale (director Kaveh Bakhtiari)
The Dance of Reality (director Alejandro Jodorowsky)
The Rendez-Vous of Déjà-Vu (director Antonin Peretjatko)
Les Apaches (director Thierry de Peretti)
Me Myself and Mum (director Guillaume Gallienne)
Magic Magic (director Sebastián Silva)
On the Job (director Erik Matti)
The Congress (director Ari Folman)
The Last Days on Mars (director Ruairí Robinson)
The Selfish Giant (director Clio Barnard)
Tip Top (director Serge Bozon)
Ugly (director Anurag Kashyap)
Ain’t Misbehavin (director Marcel Ophuls)
We Are What We Are (director Jim Mickle)

Suzanne (director Katell Quillévéré)
Ain’t Them Bodies Saints (director David Lowery)
You and The Night (director Yann Gonzalez)
The Dismantlement (director Sébastien Pilote)
Los Dueños (directors Agustín Toscano & Ezequiel Radusk)
For Those in Peril (director Paul Wright)
The Lunchbox (director Ritesh Batra)
The Major (director Yury Bykov)
Nos héros sont morts ce soir (director David Perrault)
Salvo (directors Fabio Grassadonia & Antonio Piazza)