Don’t let anyone tell you they know for 100% sure that this or that film will be premiering in Cannes before the official announcements are made next month. For one thing, such declarations tend to tick off festival president Gilles Jacob. Educated guesses are fair game, though, and, at Deadline a couple of weeks ago, Nancy Tartaglione and Pete Hammond rolled out a list of likely contenders, including Joel and Ethan Coen’s Inside Llewyn Davis, Sofia Coppola’s The Bling Ring, Alexander Payne’s Nebraska, and Spike Jonze’s Her.
Wish lists are even safer, and the Indiewire staff compiled one a few days ago that goes all the way to forty—with synopses for each to boot. Among the 40: Catherine Breillat’s Abuse of Weakness, Woody Allen’s Blue Jasmine, Ben Wheatley’s A Field in England, Alfonso Cuarón’s Gravity, Kelly Reichardt‘s Night Moves, Jim Jarmusch‘s Only Lovers Left Alive, Bong Joon-ho’s Snowpiercer, Roman Polanski’s Venus in Fur, and Terry Gilliam’s The Zero Theorum.
Today sees a new wish list from In Contention‘s Guy Lodge, a top ten. Click on each of the titles to read why he’s anticipating these films, whether or not they make it to the Croisette: Asghar Farhadi’s The Past, Hiner Saleem’s Aga, Ari Folman’s The Congress, Sylvain Chomet’s Attila Marcel, Arnaud Desplechin’s Jimmy Picard, Steve McQueen’s Twelve Years a Slave, Nicolas Winding Refn’s Only God Forgives, James Gray’s Low Life, Jonathan Glazer’s Under the Skin, and Claire Denis‘s The Bastards.
The latest entry in the Sinful Cinema series at the House Next Door: David Ehrenstein on The Driver’s Seat (1974): “Directed by Giuseppe Patroni-Griffi, this Italian-made English-language drama, adapted from Muriel Spark’s novella about a mentally unbalanced woman searching for someone to stab her to death, stars Elizabeth Taylor and features (as Neil Patrick Harris would say, ‘wait for it…’) Andy Warhol. Nothing in the good, bad or so-bad-it’s-good canon compares to it.”
Nicole Laporte‘s cover story for Fast Company is all about the new “New Hollywood,” the innovators who “seem to have learned from the mistakes of the music and newspaper businesses, which have been decimated by technological change. Rather than be reactionary and afraid, the New Hollywood crowd is proactive and creative.”
Rochester, New York. On Film presents Waiting/Action, two nights of screenings. Tomorrow: Miguel Gomes‘s Tabu (2012) and Jean-Marie Straub and Daniele Huillet’s Class Relations (1984). On Friday: Andy Warhol’s The Life of Juanita Castro (1965), Ernie Gehr’s Rear Window (1991), Peggy Ahwesh‘s The Deadman (1989), Jonouchi Motoharu’s Shinjuku Station (1974), and Ben Rivers’s Ah, Liberty! (2008).
Philadelphia. Tomorrow night, in conjunction with Tacita Dean‘s new film, JG, on view at Arcadia University Art Gallery through April 21, one of J.G. Ballard’s favorite films (Claire Walsh has selected three in all) will screen at International House: Jack Arnold‘s The Incredible Shrinking Man (1957).