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Rushes. Cannes Poster, The Video Essay, James Gray vs. Harvey Weinstein, Scorsese Podcast

This week’s essential news, articles, sounds, videos and more from the film world.
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NEWS
© Bronx (Paris). Photo: Claudia Cardinale © Archivio Cameraphoto Epoche/Getty Images
  • The Cannes Film Festival has released the vibrant poster for their 70th edition. Beautiful, definitely, but how much longer are they going to rely on their glorious past rather than pointing to the present and future?
  • We are excited to announce a collaboration with the FILMADRID festival in Spain to bring you films from their new section, The Video Essay, this June. Submissions are now open, so for video essayists new and experienced we encourage you to send in your work for consideration. Those selected will be screened both at the festival in Madrid and on the Notebook.
RECOMMENDED VIEWING
  • "This impressionistic story of grief is mounted on quasi-genre elements, adopting horror tropes not for the sake of subversion, but to find new meanings in familiar images." That's how we described David Lowery's A Ghost Story upon its premiere at Sundance last month, and now we have a first look at it.
  • The American trailer for Bruno Dumont's art-house whats-it Slack Bay (also known as Ma Loute), cheerfully emphasizes the wacky comedy side of its murder mystery. In the United Kingdom, MUBI will be releasing the film in cinemas and, later, digitally.
RECOMMENDED READING
  • The 70th issue of Cinema Scope should be on newsstands near you, with Andréa Picard reporting on Michael Glawogger's final film, our own Daniel Kasman interviewing James Gray about The Lost City of Z, and Phil Coldiron on Sergei Eisenstein's drawings. Those articles are print only, but several of the new issue are readable for free on the magazine's website, including Christoph Huber on Paul W.S. Anderson and Blake Williams on the video art of Elizabeth Price.
  • Speaking of James Gray (as we often d0), The Telegraph has run an amazing and candid interview with the director, which includes tons of items of interest, including his clash with Harvey Weinstein over The Immigrant:
Do I change the film, and in my mind destroy it? His cut was 88 minutes, had a Sound of Music-style ending with a soaring camera shot, with Marion [Cotillard] and her sister walking over a mountain in LA, narration saying “I made it, I made it”, soaring music, and all that. The audience doesn’t know that that’s not your idea. You get the blame because you’re the director and the writer of it. So I said, ‘Well, I’m not going to take the blame for that.’ What would happen is that that film would get bad response critically anyway, so then it would get the bad response, the film would bomb, and it’s not my cut.
RECOMMENDED LISTENING
  • Below, in two parts, the newly launched BFI Podcast is devoted to Martin Scorsese:
EXTRAS
  • Improvised Life has a "tour" of Jean Cocteau's house in the south of France. Not only did Cocteau turns the walls into art, he later would film them for Testament of Orpheus (1960) and La villa Santo Sospir (1975).

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