The highlight for me here was Edith Scob. I only know her as the virgin Mary in Bunuel’s The Milky Way forty years ago, but she was totally recognizable as the deathbed matriarch here. I mean, yeah Juliette Binoche is always good, but Charles Berling (Scob’s costar in Ruiz’s Comedy of Innocence) was more the star here (and blonde L’Enfant star Jérémie Renier played their brother).

I heard this was a great movie, but right before it started I realized what I’d gotten myself into… an acclaimed family-secrets drama – surely another underwhelming handi-cam video a la A Christmas Tale or Rachel Getting Married. But no, fortunately this was the kind of filmmaking I can get behind, everything in order, with shaky cameras and close-ups only where necessary. Kind of surprising, really, that the director of hyperkinetic Irma Vep and Demonlover makes a classical-style family drama, but I’d seen Clean so I wasn’t too amazed. Another thing compared to the other recent dramas is that everything is supremely understated in this. Its themes are obvious, but they don’t come out in big emotional climaxes. The big payoff shot, Berling’s daughter framed in front of the family home, telling her boyfriend that she’s kinda sad that her grandmother is dead and the place is being sold, is tear-free and quickly interrupted and didn’t really hit me until a few minutes later in the parking lot.

Opening scene has three siblings at their mother’s house with Berling & Renier’s wives and kids (Binoche is too much the high-powered businesswoman to have time for a husband or kids), Scob talking privately about what will happen to the house and her possessions after she dies. Next scene a few months later, predictably, she is dead and the kids spend the rest of the movie deciding what to do with her house and possessions. It’s decided pretty easily that everything will be sold and the loyal servant (Isabelle Sadoyan, also a servant in Blue) will be dismissed, so there’s not much conflict, more the family members coming to terms with the property sale, the kids becoming the oldest living generation in their family.

A program of shorts that played at the 2007 Cannes Film Festival to mark its 60th anniversary. Pretty terrific bunch of 3-5 minute shorts by possibly the best group of directors ever assembled… worth watching more than once. Each is about the cinema in some way or another, with a few recurring themes (blind people and darkness, flashbacks and personal stories). Katy watched/liked it too!

First half of shorts (second half is here):

Open-Air Cinema by Raymond Depardon
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One Fine Day by Takeshi Kitano, continuing his self-referential streak.
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Three Minutes by Theo Angelopolous is a Marcello Mastroianni tribute starring the great Jeanne Moreau.
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In The Dark by Andrei Konchalovsky
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Diary of a Moviegoer by Nanni Moretti
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The Electric Princess Picture House by Hou Hsiao-hsien
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Darkness by the bros. Dardenne
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Anna by Alejandro González Iñárritu
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Movie Night, the first of two gorgeously-shot outdoor movie starring chinese children, by Zhang Yimou.
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Dibbouk de Haifa, annoying business by Amos Gitai.
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The Lady Bug by Jane Campion.
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Artaud Double Bill by Atom Egoyan.
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The Foundry, comic greatness by Aki Kaurismäki.
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Recrudescence, stolen cell-phone bit by Olivier Assayas.
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47 Years Later very self-indulgent by Youssef Chahine.
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Maggie Cheung won best actress at Cannes in May 2004, and it didn’t open here till June 2006, then left in a week. I was busy that week so rented it, damn it all.

Maggie’s rocker husband ODs in a hotel room and she’s off to prison for a few months. The rocker’s Nick-Nolte dad watches the kid while she’s away. She uses all her old connections to try to get back on track, ending up with a bunch of crap jobs and a vague hope for a future in music, while Nick is dealing with his dying wife and a grandkid turned against his mom. Maggie sort of lets Nick down at the end, but he doesn’t throw it in her face. Interesting characters, great looking movie.