Cannes at Home: Days 9 & 10 – Champions of Festivals Past

by Cláudio Alves

Just as the favorites for the Palme d'Or seemed to have settled, here comes another barrage of rave reviews to muddy the waters. Not only is it impossible to predict what Östlund's jury will choose, but it seems like, every day, the critics elect a new title to champion. On the ninth day of the festivities, Trần Anh Hùng's Pot-au-Feu dazzled many with its gastronomic love affair, making comparisons to Babette's Feast. Then came Nanni Moretti's A Brighter Tomorrow, less acclaimed but blessed by enthusiast defenders. On the 10th day of Cannes, it was time for Wim Wenders' Perfect Days to ignite Best Actor speculation, while Catherine Breillat's Queen of Hearts remake became another instant frontrunner for the big prize. Will Last Summer take the Palme? 

For the Cannes at Home series, the focus shall be on these auteurs' past festival successes. The Scent of Green Papaya earned Hùng the Camera d'Or and Vietnam its only Oscar nomination. Moretti won the Best Director prize at Cannes '93 with Caro Diario, and Wim Wenders was the Palme victor of '84 with Paris, Texas. Finally, there's Breillat's hyper-controversial Fat Girl, a prizewinner from the 51st Berlinale…

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RIP to Two Titans of European Cinema

By Glenn Dunks

What a shock it was to hear over the last 24 hours of the deaths of both Robby Müller and Claude Lanzmann. These two icons of European cinema were 78 and 92 respectively and both gave so much to the universe and there are not enough hats to tip to their memories and their legacies.

Robby Müller was the Dutch-born cinematographer whose regular collaborations with the likes of Wim Wenders, Jim Jarmusch and Lars Von Trier were the stuff of legend. Who can forget those stunning tableaus of Breaking the Waves or his regular plays on black and white with Jarmusch as well as Sally Potter’s The Tango Lesson. I'm not as well versed on Jarmusch's films as others, but I gather Dead Man with Johnny Depp is the one worth gawking over the most.

And I know it’s become a little bit fashionable to roll one’s eyes at people going on about the virtues of celluloid over digital, but I guarantee you have never seen colours projected onto a screen quite like those twilight blues of Wenders’ Paris, Texas...

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1984: Paris, Texas

As part of our celebration of the year of the month, 1984, Lynn Lee revisits the winner of that year's Palme d'Or, Wim Wenders' Paris Texas.

While it may not quite have the status of an iconic movie, there’s much about Paris, Texas that feels iconic.  A hybrid of those two most iconically American genres, the Western and the road trip—directed, natch, by a German and starring two European actresses—it bears the distinctive features of both.  The long stretches of silence, only occasionally broken by snatches of spare Sam Shepard-scripted dialogue or, as often as not, monologue.  Ry Cooder’s haunting slide-guitar score, which seems to meld with the harsh, lonely, yet strangely sublime landscapes of Texas deserts, highways, and roadside motels.  The lighting, especially at dusk.  The weathered countenance of Harry Dean Stanton—how does it manage to be at once so stoic and so expressive?—and the exquisitely sculpted planes of Nastassja Kinski’s face, as they quiver and dissolve in the movie’s most emotionally wrenching scene. 

That last aspect is at once the film’s ace and its Achilles heel.  By the latter I don’t mean Kinski’s acting (I think she’s fantastic, shaky Texan accent aside) or the writing of that particular scene.  Rather, I mean the conception of her character, Jane, and Jane’s relationship to Stanton’s wanderer Travis, which culminates in that scene.  

If the first two thirds of Paris, Texas are about Travis’ reconnecting with his brother and young son as he slowly comes back to life, the last third is dominated by his efforts to find Jane...

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Curio: Paris Texas, 30 Years Later

Alexa here with your curio of the week. Wim Wenders' seminal film Paris, Texas was released 30 years ago, and over time it has become one of my all-time favorite films. So this week I thought I'd dig into my old magazine stash and share this 1984 issue of Film Quarterly that I scored at an estate sale awhile back. It includes a fascinating interview with Wenders, who discusses his "American period" and how its past failures (including Hammett) in may ways resulted in his success with Paris, Texas. Here are some selected quotes from the great philosophical meanderer. 

On casting Harry Dean Stanton:

We chose Harry Dean because he...is one of the few adults I know who...has kept the child that's dead in most adults, and certainly a lot of actors, with him. He has an innocence about him, despite a long career and being 58 years old. In Paris, Texas he and Hunter change roles: sometimes you find Travis in the position of the child and his son as he adult.

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Team Top Ten: The Best Cannes Winners of All Time

Amir here, to bring you this month’s edition of Team Top Ten, a monthly poll by all of our contributing team at The Film Experience. Cinephiles all around the world turn their attention to the south of France in May as the most prestigious film festival in the world gets underway in Cannes.

The festival’s history is a rich one, full of interesting cinematic and political narratives. It’s an event that has celebrated the best in cinema and operated as a launching pad for emerging artists as much as it has played games of politics and festival world favouritism. Still, when all is said and done, the list of Palme d’Or winners can rival any list of the best films ever made.

With this year’s edition of the festival just about to begin, we thought it would be a good time to revisit the past and choose our Top Ten Favourite Cannes Winners of All Time. For this poll, we’ve excluded the first two editions of the festival (1939, retroactively awarded to Union Pacific, and 1946, when the top prize was shared between 11 films.)

There is really no easy way to select the cream of the crop here, because these films are already... well, the cream of the crop. Consider the eight films that finished behind our top dozen: Pulp Fiction; Dancer in the Dark; Viridiana; 4 Months, 3 Weeks and 2 Days; Farewell My Concubine; Secrets & Lies; The Tree of Life; The Pianist. Not to mention masterpieces like Black Orpheus, Wages of Fear and Rosetta that placed outside the top 20. The point is that this is the highest echelon of films awards so the standards are high and margins are slim. Some of you will surely disagree with our ranking, but we welcome that. Let us know what you think in the comments.

THE BEST CANNES WINNERS OF ALL TIME
a non-definitive poll which begins with a three-way tie for tenth

10= La Dolce Vita (Fellini, 1960)

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