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Photo by MB Polay
We’ve always actually been remarkably commercially successful. Not in terms of making huge amounts of money, which we rarely do, but in terms of not losing money and making modest amounts of money. We’re actually strangely consistent in that respect. We’ve been able to keep making movies because of that and also because, strangely, we’ve had studio patrons, starting from Barry Diller. Sometimes they’re establishment people who know they’re not going to make huge amounts of money, but they like your movies. They’re moviegoers, too.
A terrific festival where every single film showcased received multiple votes for BEST FILM. Each film is the best of the best of Experimental/Dance/Music films from around the world in the last year.
Best Film: The Sweater Best Experimental: Oasis Best Dance Film: Matter Best Music Video: Chaton – From the Future Best Performances: Cabaré Best Story: clipping. – Run It Best Direction: Echo of Silence Best Cinematography: Plié (On Eggshells Best Sound & Music Everyone Wants A Tight Pussy Best Visual Design: Khimairas of the Kinesphere
SEE THE LINEUP OF FILMS:
Cabaré, 6min., Brazil, Music Directed by Emerson de Lucca Brandt Drama, body, poetry. Dude São Thiago breathes new fire into brazilians João Bosco & Aldir Blanc’s classic “Cabaré”—a standout from his debut double album O Sexo do Vento. This isn’t just a cover—it’s a reinvention. A ritual. A reclamation.
Khimairas of the Kinesphere, 9min., USA, Dance Directed by Eric Souther, Kelsey Paschich Khimairas of the Kinesphere explores the extension of the mediated body. Human movement choreographed for digital avatars which work as sites for artificially generated images. The crises of climate change demands a hybridization and reexamination of the relationship between humans and nature, a redesign, a second nature. We are forced to reimagine our co-existence and our role in shaping the future.
Chaton – From the Future, 3min., USA, Music Directed by Marcus CB Soori Chaton’s super-danceable and hard-punching debut track is inspired by futurism, the aspiration to create technologies seemingly from the future, to enable a better life for us all today.
Plié (On Eggshells), 14min., Spain, Dance Directed by Virgo Martinez From dawn to dusk, set in the Danish countryside, ‘Plié’ captures the beauty of youth combined with the absurd and inevitable lack of presence when a heart goes through loss. The heart, like the ballet movement of a plié, is extra careful and delicate when faced with a fragile situation. This film portrays a refreshing perspective of love and lust behind the scenes of the high-level ballet culture.
Oasis, 9min. Mexico, Experimental Directed by Hugo Hernández Jiménez An immersive and vibrant journey into the heart of Mexican lucha libre, where Arena Querétaro emerges as a living protagonist, welcoming its spectators and inviting them to delve into the essence of the fight. Through the accounts of local wrestlers, the magic and myth of pancracio intertwine with the culture and emotions of a community that gathers around the ring, rejoicing, cheering, and raging alongside the protagonists of the fight.
Echo of Silence, 14min., Poland, Experimental/Dance Directed by Mateusz Wawrzyniak, Patrycja Wasiak, Piotr Kuniewski In a world where everyone is surrounded by many yet feels alone you struggle to stay afloat. Echo of Silence is a story about overcoming inner darkness and finding strength to stand against all odds.
clipping. – Run It, 5min., USA, Music Directed by Lawrence Klein Sub Pop Music Video – International Spy Game of Shadow characters and conspiracies set to the clipping. style of cyberpunk future.
Everyone Wants A Tight Pussy, 1min., Canada, Poem Directed by Sofia Auza A poetry video about living with chronic vaginal pain.
MATTER, 21min., USA Directed by Gabe Katz, Mike Murphy A young woman enters into a journey of self-exploration, discovery, and identity. As she travels through the ephemeral, working through her understanding of self-perception, other travelers within the same universe try to join.
The Sweater, 9min., Canada, Experimental Directed by Maziyar Khatam Pressured into giving away his clothes, an emasculated young man obsessively attempts to reclaim his cherished sweater before it vanishes into the donation abyss.
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(On landing The Brady Bunch Movie (1995)) I had done virtually no comedy at all until then. All the television I had done was either disease-of-the-week movies or Fatal Vision (1984) or a television series called Midnight Caller (1988). But Betty Thomas, who had actually directed an episode of Midnight Caller (1988), she was the director. I had worked with her, I had also met her years ago in New York. She was a friend of Jim Belushi‘s, and I was doing “True West” with Jim Belushi, so I met her and knew her, liked her a lot. Thought she was very funny, very salty, and I went into the read thinking really that it just didn’t make sense that I would get this part. But I thought since it was Betty, I’d go in and say hi, do my thing, have fun, walk away. And so I went in, and it seemed to go okay. I went in and did my best Robert Reed impersonation, and it seemed to go fine. And a lot of time went by, more than six or seven weeks, it seemed. So I didn’t think any more about it. It was like most auditions. You walk in, and 90 percent of them are dead. And then I got a call back and went in, and [Betty] said, “I just want to see if this was as good as I thought it was”. So I did it again, and no one was laughing. She was just looking at me like an animal in the zoo. And then the third time I went in, they had already cast Shelley Long, so they wanted to see me with “Shelley Long”, and they put us on tape. They gave me some bad wig. I looked like “Buckwheat” from “The Little Rascals”, and they put me in some bad polyester shirt, and it was just really odd, because I looked so stupid. I left and didn’t think anything about it, and then it still went on and on. It was on and it was off, and it was on and it was off, and then finally I got a call from her and she said, “I really want you to do it”. And then she went to bat for me at the studio, because I don’t think the studio wanted me. It didn’t make sense for the studio; I’m sure they were going through their list of stand-up comedians and other comic actors that had done those movies. And nobody wanted to do it. They’d keep passing on it. And the time was coming, they had to make it, and so I was slipped in.
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Italy to me is like the mean mother. Whatever I do, it’s never good enough. People say I’m the queen of Cannes, but in Italy I get turned down for work.
Movies have saved my life and I’m so grateful. I’m so shy and weird that if I didn’t find a place in the world through movies, I don’t know what I would’ve become.
[her full speech at the awards ceremony of the 71st Cannes Film Festival] I have a few words to say. In 1997, I was raped by Harvey Weinstein here at Cannes. I was 21 years old. This festival was his hunting ground. I want to make a prediction: Harvey Weinstein will never be welcomed here ever again. He will live in disgrace, shunned by a film community that once embraced him and covered up for his crimes. And even tonight, sitting among you, there are those who still have to be held accountable for their conduct against women. For behaviour that does not belong in this industry, does not belong in any industry or workplace. You know who you are. But most importantly, we know who you are. And we’re not going to allow you to get away with it any longer ! [May 19, 2018]
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Let’s just say I’m a physical guy.
I’ve never been a big gore guy.
I’m not a big shopper.
I think it helps, as an actor, to never know when you’re going to get that next script and you’re done.
I played sports in high school and in college.
I played baseball in college, and then I went to Russia to study acting and played some pro ball over there.
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The movie industry is run by accountants in Hollywood and it’s as simple as this; everyone has a number on their computer. They can look up Jeremy Irons and see what my last five movies have made. Say you want to make a $20m picture, which is relatively cheap. If Jeremy makes $9m, the director makes $5m, then you need a leading lady, and they just go through those figures – that’s how casting happens. And none of my movies has made a lot of money.
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HOLLYWOOD, CA – MAY 25: Actress Danielle Panabaker arrives at the Premiere Of Warner Bros. Pictures’ “Wonder Woman” at the Pantages Theatre on May 25, 2017 in Hollywood, California. (Photo by Frazer Harrison/Getty Images)
You can always learn something [in bad acting classes], maybe it’s a technique you don’t like; maybe it’s a style. But you learn different things.
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[on preparing to meet the audience] I’m behind the curtain waiting to go on. And there’s a spotlight shining through the curtain from the other side. They’re announcing my name. And I think, This is going to be awful. And then the curtain opens and you walk toward the light, which is so like death is supposed to be it’s weird. And then it’s fun, and then you play.
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(2008) I grew up in Oklahoma, I did always have the blue eyes, but I was pudgy until I was 13 or 14, then I got tall and skinny, but I grew up in an area where girls liked athletic football players and I was never that kind of guy. That was their version of Prince Charming and it was not until fairly recently that I became reasonably happy with my appearance and the way I am. I think it is all psychological, but I was never really comfortable with the way I looked and don’t see myself as handsome…When I was younger I would try to mold myself into an image of what women wanted and now I am interested in being comfortable in my own skin. I think it is important to have confidence in who you are and embrace that, rather than trying to be someone else.
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HOLLYWOOD, CA – NOVEMBER 10: Actress Christina Chong attends HaloFest – Halo: The Master Chief Collection launch at Avalon on November 10, 2014 in Hollywood, California. (Photo by Vincent Sandoval/WireImage)
For Christina, the focus on equality and diversity in the Star Trek franchise leads back to her own personal journey in Hollywood. Christina is the proud daughter of a Chinese father who immigrated to the UK from Hong Kong and English mother. Her tireless work ethic stems from watching her father working low wage jobs in restaurants, often jobs only immigrants would be willing to take on, and her mother staying at home raising six children.
Festival Reviews 