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5 Sep. 2012
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30 May 2012
12 Dec. 2012
MOONRISE KINGDOM, the new film by American Wes Anderson, will open the 65th Festival de Cannes on Wednesday, 16 May in the Grand Théâtre Lumière of the Palais des Festivals, with the Jury presided over by Italian filmmaker Nanni Moretti in attendance.
64TH CANNES FILM FESTIVAL:
6 June 2012
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COMPETITION:
65th CANNES FILM FESTIVAL 16 - 27 May 2012
Films competing in the Official Selection.
MYSTERY, MISS LOVELY, LA PLAYA D.C., GOD'S HORSES, CHILDREN OF SARAJEVO, THREE WORLDS, ANTIVIRAL, 7 DAYS IN HAVANA, LE GRAND SOIR, LAURENCE ANYWAYS, DESPUES DE LUCIA, À PERDRE LA RAISON, GIMME THE LOOT, STUDENT, THE PIROGUE, WHITE ELEPHANT, CONFESSION OF A CHILD OF THE CENTURY, 11/25 THE DAY MISHIMA CHOSE HIS OWN FATE, BEASTS OF THE SOUTHERN WILD, RENOIR.
OUT OF COMPETITION:
Films selected Out of Competion, Midnight Screenings, Special Screenings.
ME AND YOU, MADAGASCAR 3: EUROPE'S MOST WANTED, HEMINGWAY & GELLHORN, DARIO ARGENTO'S DRACULA, THE SAPPHIRES, MANIAC, FOR LOVE'S SAKE, UNE JOURNÉE PARTICULIÈRE, POLLUTING PARADISE, ROMAN POLANSKI: A FILM MEMOIR, TRASHED, THE CENTRAL PARK FIVE, THE OATH OF TOBRUK, LES INVISIBLES, JOURNAL DE FRANCE, THE MUSIC ACCORDING TO ANTONIO CARLOS JOBIM, VILLEGAS, MEKONG HOTEL.
CANNES CLASSICS:
Official Selection 2011, films and documentaries.
A GREAT DAY IN HARLEM, CLAUDE M LE CINÉMA (CLAUDE MILLER, CINÉASTE DE L'INTIME), METHOD TO THE MADNESS OF JERRY LEWIS, ME AND ME MAD, THE RING, AFTER THE CURFEW, THE BALLAD OF NARAYAMA, RUNAWAY TRAIN, THE GREAT SPY CHASE, LAWRENCE OF ARABIA, ONCE UPON A TIME IN AMERICA, TESS, JOURNEY TO ITALY, KALPANA, JAWS, CLEO FROM 5 TO 7, WOODY ALLEN: A DOCUMENTARY, FINAL CUT - LADIES & GENTLEMEN.
18 Jul. 2012
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29 Aug. 2012
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Films competing in the "Un Certain Regard" Selection.
OPENING FILM:
THE DIRECTORS' FORTNIGHT Among the sections at the Cannes Film Festival, the Directors’ Fortnight is distinguished by its independent-mindedness and its non-competitive nature. It pays attention to the annual international production of fiction features, short films and documentaries.
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Moonrise Kingdom by Wes Anderson is the opening film of the 65th Festival de Cannes.
QUINZAINE DES RÉALISATEURS:
SEMAINE DE LA CRITIQUE:
63TH CANNES FILM FESTIVAL:
A Word from the President The story of the Festival de Cannes could be evoked in several different ways. You could read the books that have been written about it; or you could examine the newspapers from various periods: there’s a huge amount of material available. The same is not true, however, of filmed images. In 2000, we realized that an irreparable loss was happening. Irreparable, that is, unless we were to find, analyze, catalogue, protect and – at the right time – make available for viewing the things that might yet be saved. We decided to act. As we were reclaiming the past, and systematically filming the present, we found ourselves with a body of material. A unique body, in the sense that we had filmed in places nobody had access to, in the wings during opening/closing ceremonies, for example. One day – who knows ? – footage of when the jury convenes… And we also obtained shared ownership of the images filmed by our partner, Canal+. It immediately became tempting to show some of these images. And to tell the story of the Festival from both sides of the lens: the detail through the most astonishing of anecdotes, History with a capital H when talking about the rites of Cannes and, especially, the great artistes who have come to visit. Which brings me to what I want to talk about: to this humble work, to this Festival History Number 4, a documentary which will be shown on the day of our birthday, entitled A Special Day. An Ettore Scola reference, yes, but also because it tells the story of the 35 filmmakers who came to Cannes in 2007 for To Each His Own Cinema. And special, finally, because it reveals some of the rites I made reference to, those of the birth of a group. How film directors who barely knew each other, who were maybe wary of each other, even, became friends. I’ve made the most of the occasion by evoking their different worlds using extracts from To Each His Own Cinema – which I’m sure you’ll find entertaining. I’ll leave it to you to guess which belongs to which. Meet on May 20th in Salle Debussy, for those of you who are interested. For the past becomes a lot more interesting when one holds it up to the future. What will festivals be like considering how love for film has been so fundamentally transformed? It’s up to us to bring together the audience that filmmakers deserve. It’s up to us to show we’re not duped by the environment that we’ve done our best to influence: it would have developed without us in any case. It’s up to us to declare the persistence of a different kind of cinema, loved by both the president of the jury and this festival. A creative cinema that stretches from one acknowledging its difference to one that embraces radical innovation without which there would be no progression. What has changed in cinema? Everything. Gone, the pioneers and the innocence, the way of filming, cameras, understanding audiences, duration, rhythm, acting... Sometimes, today, writing is the subject of a film, the recently departed Raoul Ruiz being a prime example. It’s cinema on its feet, to paraphrase Jean-Louis Bory, that the press expects at Cannes, and not just the press, anyone who considers cinema to be an adult art. An art which, like painting, architecture or poetry, goes through successive revolutions, alternating between bursts and periods of maturation, contemplation and sudden leaps forward. For what hasn’t and won’t change is the kind of filmmaker that makes Cannes, and not the ephemeral or the froth. In a world that sacrifices everything to what’s superficial, to the new-best-thing, to the lowest common denominator, to the non-debate of ideas through apathy, what counts, what makes us strong, is our passion for cinema and for those who make it: the great auteur filmmakers. The greatness of Cannes is its ability to bring together and share that very special moment when a film is discovered. A film which, in the blink of an eye, invents, awakens, overwhelms, deifies. People come from all over the world to find this creative spark, this irreplaceable magical concentration. New technologies, internet, pirating, simultaneous worldwide releases, new formats, and everything that follows can’t change a thing, because the collective, unifying passion lies here with us. That’s just the way it is. François Truffaut said that we’ll soon be judged by people who haven’t seen Sunrise. He was right! How many young people today between the ages of 15 to 20 have heard of Murnau, Eisenstein, Griffith, Gance, Stroheim, Mizoguchi, Satiajit Ray, Buñuel... And that’s just their names, imagine if I was to start listing their films… So, do you see the extent of the work we have left to do? Have a great festival!
63e FESTIVAL DE CANNES: 12 - 23 MAY 2010
THE CRITIC'S WEEK Parallel section of the Cannes Film Festival, la Semaine de la Critique has steadfastly remained true to its tradition of discovering new talents. Ever since it was conceived by the French Union of Film Critics in 1962, the objective of la Semaine de la Critique has been to showcase first and second feature films by directors from all over the world. Bernardo Bertolucci, Jean Eustache, Otar Iosseliani, Ken Loach, Wong Kar Wai, Jacques Audiard, or even Arnaud Desplechin all started at la Semaine.
64e FESTIVAL DE CANNES: 11 - 22 MAY 2011
OFFICIAL SELECTION:
VIDEOS: http://cinemarocks.usafilms.free.fr/moonrisekingdom.html
PHOTOS: http://cinemarocks.usafilms.free.fr/moonrisekingdomart.html
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MOONRISE KINGDOM, RUST AND BONE, HOLY MOTORS, COSMOPOLIS, THE PAPERBOY, KILLING THEM SOFTLY, REALITY, LOVE, LAWLESS, IN ANOTHER COUNTRY, THE TASTE OF MONEY, LIKE SOMEONE IN LOVE, THE ANGEL'S SHARE, IN THE FOG, BEYOND THE HILLS, AFTER THE BATTLE, MUD, YOU AIN'T SEEN NOTHIN' YET, POST TENEBRAS LUX, ON THE ROAD, PARADISE: Love, THE HUNT, THÉRÈSE DESQUEYROUX.
UN CERTAIN REGARD:
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CANNES 2012 :
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