3-D film Up opened the festival
The annual Cannes Film Festival is known as one of the most glamorous events in the movie world, with sun, sea, sand and celebrities aplenty, but this year's event was marked by fears that the global economic downturn would tarnish its glow. Party and event budgets have been slashed by as much as half. There's the usual cluster of independent film-makers eagerly promoting their work, but far fewer buyers and backers than usual. Even the opening gala has shied away from the usual red carpet glitz, with an animated film, Pixar's Up, chosen instead. But as it turns out, Cannes has never picked a more popular film.
The story of a grumpy old man and an excitable boy who travel between continents in a flying house supported by balloons, Up seems to have universal appeal, charming even the most cynical of critics. It's rooted in real world issues, as its elderly hero grieves for his dead wife, but its talking animals and fantastic landscapes give it a fairytale atmosphere. And opening Cannes certainly feels like a fairytale to its producer, John Lassater, who commented that "this is one of the greatest things that has happened to us in our careers." [Watch clips from the film and see the Pixar team in Cannes as WMV here or as MOV here]
Of course, most of the focus in Cannes is on European films, but there are lots of exciting things happening there, too, some of which share Up's optimistic take on life. Looking For Eric may begin in a downbeat way, with its hero having been abandoned by his wife and struggling to care for his stepsons, but the unusual approach he takes to solving his problems soon turns things around. Not knowing where else to turn for help, he gets in touch with his idol, footballer Eric Cantona, who not only teaches him to kick a ball about but changes his whole approach to life. It's a feelgood comedy that's enchanting the critics, and is based on Cantona's own experiences with some of his fans.
Looking For Eric is helmed by veteran British director Ken Loach, who is not exactly known for his comedies but has previously scored critical successes with films like Sweet Sixteen and The Wind That Shakes The Barley. He was Cantona's top choice for the job, with the footballer worried that most directors would be tempted to make his quirky story "stupidly commercial". Ironically, his persistence in developing his original idea may result in a big commercial hit after all.
With studios more nervous than ever about risk-taking in the current financial climate, independent film is going through a difficult time, but there are still contributions from some of the most celebrated auteurs at this year's festival. Taking a break from his Dogville trilogy, Lars von Trier has submitted a horror film, Antichrist, which follows a couple who have recently lost their child as they head to a remote woodland cabin to get some time alone. It's mostly a two-hander with Charlotte Gainsbourg and Willem Dafoe, and it uses the strange and horrific events around them to explore religious and philosophical issues. It was written by Anders Thomas Jensen, a director in his own right who is known for powerful films like Red Road and After The Wedding. With such strong credentials, Antichrist is rated as one of the strongest films at the festival, so it is almost certain to secure international distribution.
Another big-hitter back this year is Pedro Almodóvar, who ventures into film noir territory with Broken Embraces, the story of a tragic love triangle centered on a beautiful call girl (Penelope Cruz). The film has been praised for its razor-sharp dialogue and for its exploration of moods and ideas that are new to the director's work, but its introspective tone seems to be at odds with what audiences are looking for just now, and it is considered unlikely to be a big success. Still, this hasn't stopped Jacques Audiard's gritty prison drama A Prophet from winning critical acclaim. This is the story of a young Arab man whose imprisonment marks the beginning of his rise to power, as he discovers an influence over his fellow prisoners which he was always denied among free men. The film explores the tensions which still exist between France and its former colonies in northern Africa, and also works well as a thriller, fast-paced and gripping throughout.
As far as actors are concerned, the darling of this year's festival is British newcomer Katie Jarvis. Discovered in a train station where her argument with her boyfriend revealed formidable charisma, the 17-year-old now stars as an unhappy, hard-drinking teenager on the verge of a dangerous encounter with her mother's boyfriend (Michael Fassbender) in Andrea Arnold's new film Fish Tank. Her fresh, energetic performance has wowed the critics and might signal the arrival of a major new star, with Time Out arguing that the film deserves a major prize.
Still to be seen are Michael Haneke's new work The White Ribbon, which explores the origins of the Nazi movement in a small German village in 1913, and closing gala feature Coco Chanel & Igor Stravinsky, the true story of a passionate affair that led to the creation of the famous Chanel Nº.5 perfume. Haneke's work always makes an impression and there's nothing like Chanel to restore a little of that traditional French glamour that ensures this festival is something special.
