George Bernard Shaw was, in his time, a revolutionist thinker. This turn of the century playwright was perhaps first and foremost a reformist thinker. Today, he would probably not be holding on to the same discours. As he puts it in his first of many stage directions in Man and Superman:
From now on, it’s award season every month on filmcurious. Fashionably late I present you an overview of the films I’ve watched in April. Don’t expect a boring list, but find out which very special awards I give to films such as Ryan Gosling‘s Lost River or Quentin Tarantino‘s Pulp Fiction.
Only six more days until one of the world’s oldest, and most renowned, film festival kicks off it’s 2015 edition. It promises to be an interesting couple of days at La Croisette. Joel and Ethan Coen are the two Presidents of the Jury of the 68th Festival de Cannes. Other members include Xavier Dolan, fresh of his Mommy success, and Jake Gyllenhaal. That snub still hurts.
Below, you’ll find an overview of this year’s nominees as well as some of the most anticipated films that aren’t in competition. From the American Carol, which is obviously heading to the Oscars, to Son of Saul, a debut by a Hungarian filmmaker. You can always count on Cannes for delivering an interesting mix.
About a year and a half ago I saw a play called Na de Repetitie / Persona (After the Rehearsal / Persona), a two parter based on Bergman‘s films. They worked extremely well together, both questioning the relevance of art in everyday life. This wasn’t the first time I saw a theatre adaptation of one of Bergman‘s films. Scènes uit een huwelijk (Scènes from a marriage) is probably the best play I’ve ever seen. Both are directed by Ivo Van Hove (Toneelgroep Amsterdam), who recently won the Olivier Award for directing A view from the bridge at the Young Vic.
Going into a screening of this film, there are a couple of things an audience should know. In 2010 Jafar Panahi, was arrested for making a film against the Iranian regime. Since then he has not been allowed to make films, leave the country or participate in interviews. Taxi, however, is his third film since the ban, and even though it’s filmed entirely within the confined space of a taxi, it shows us the streets of Tehran. We’re out in the open, right under the nose of the Iranian government.