More Cannes intel. The lineup announcement is less than two days away, so I’ll be updating this site with whatever info I can get until the morning of April 9.
First off, there will be some extra U.S. presence in the lineup. Jordan Firstman (“Rotting in the Sun”) seemingly has his feature debut, titled “Club Kid,” selected for the Un Certain Regard sidebar. The film, which stars Cara Delevingne, Diego Calva, and Alaina Surgener, is set in New York City and follows a washed-up New York party promoter who is forced to turn his life around when an unexpected visitor arrives.
Furthermore, Pawel Pawlikowski has not only finished editing “Fatherland/1949,” but it was submitted a few days ago—and not just that, it’s now locked for competition. I’m told that around 11 titles have been confirmed so far, with another eight or nine still needed to complete the selection.
I’m hearing some very intriguing buzz around Charline Bourgeois-Tacquet’s “La Vie d’Une Femme,” which I’m told is being considered for UCR or, at best competition. The film, starring Léa Drucker and Mélanie Thierry, reportedly made a strong impression on the selection committee and is emerging as a serious contender to be among the three or four French titles chosen to compete for the Palme d’Or.
Meanwhile, Léa Mysius — frequently highlighted in Cannes prediction lists — is facing a different situation. Her film “Histoires de la Nuit” has been offered a place in Un Certain Regard, a proposal that apparently hasn’t thrilled her. For Mysius, it’s competition or nothing; otherwise, she’s said to be considering taking the film to Venice, which has already expressed interest.
Then there’s another French filmmaker in the mix: Quentin Dupieux, known for his offbeat yet charming comedies. His latest, “Full Phil,” was warmly received by the selection committee, giving him a legitimate shot. Unlike Mysius, however, Dupieux is reportedly more interested in a Midnight screening, arguing that it would be “more fun.” You’ve got to admire that attitude. His producer, Hugo Sélignac, is likely on edge — none of the films he’s produced have ever competed for the Palme d’Or.
More to come…