Cannes 2. 01. 7: “In the Fade,” “You Were Never Really Here,” “Directions” . Vanessa Redgrave’s special documentary presentation “Sea Sorrow,” and competition films “Jupiter’s Moon,” and “Happy End” are joined by the first of today’s two competition premieres, “In the Fade” by German director Fatih Akin, starring Diane Kruger. Advertisement. Akin, the son of Turkish immigrants, won Best Screenplay at Cannes in 2. The Edge of Heaven.” Setting his films largely in his home base of Hamburg, he is known for incorporating culture clash and the possibility of bridging gaps between ethnic Europeans and immigrants into his fiction. On her way out just before it happened, Katja had briefly registered the unusual sight of a young woman abandoning a new, unlocked bicycle against the front of the building.

You know that great big gaping hole in the floor of the Eyrie that you really don't want to accidentally trip over? Yeah, well, it's a lot less scary in real life. Akin, the son of Turkish immigrants, won Best Screenplay at Cannes in 2007 for “The Edge of Heaven.” Setting his films largely in his home base of Hamburg, he is. No official plot yet, but it's said to be a "unique retelling of the origin story" and will feature a young Jason. CATEGORY Killers

Despite the obvious implication that this explosion set off in the crowded business district of an immigrant neighborhood is a hate crime, police maintain a line of questioning focused on Nuri, who had years before served a sentence for drugs. While a grief- stricken Katja negotiates the outspoken prejudice of her own mother and the newly rejecting attitude of her Turkish in- laws, the chief investigator speculates a range of false scenarios by which Nuri was the cause of his own death as a result of political activism, money laundering or drug dealing. The core section of “In the Fade” is a courtroom drama that broadcasts many a hint that a superficial interpretation of the trajectory of this trial is not to be trusted. Validating the suspicion that Katja had initially reported to the skeptical police, the people charged are a pair of neo- Nazis with a long history of activism. The wife is the woman Katja had spotted leaving the bicycle. The evidence lines up perfectly.

Even the male suspect’s father gives damning testimony against him. It looks like an open- and- shut case. It’s not. Advertisement In this script, co- written by Akin and director/actor Hark Bohm (a lawyer by education, and best known for roles in Rainer Werner Fassbinder’s films), the intention is to focus on violence against immigrants, and on the imperfect and capricious quality of justice under law that has sometimes attended crimes of this nature. The film doesn’t always serve their purpose well. The bookending drama, including the film’s final section in which Katja considers taking matters into her own hands, feels perfunctory, a cautionary exercise rather than a story with heart. The distinction for bringing the highest body count and the most excessive amount of gore to the competition goes to Scottish director Lynne Ramsay for “You Were Never Really Here,” the very final film in the festival competition to be previewed for the press today, after a long ten days of screenings.

She competed in Cannes in 2. We Need to Talk About Kevin,” and had previously won Cannes awards for two short films. Male directors are often criticized for having a taste for gratuitous violence, but Ramsay gets down with the big boys in proving that blowing heads off can be a genderless pursuit.

Joe (Joaquin Phoenix) is a rough, marginal character who lives with his elderly mother and makes a cash- only living at the kind of odd jobs that involve killing people. A desert- set flashback of a child shooting another child over a candy bar signals that he’s a veteran of Afghanistan.

Ramsay periodically adds a child’s counting game on the soundtrack, as well as Joe’s additional flashbacks of being physically abused as little boy. Fast cutting and disorienting shots make him a man with a short attention span and a lot of distracting thoughts on his mind. Advertisement His latest job involves tracking down the pre- teen daughter of a state senator, who has been kidnapped by a child sex trafficking ring and is being held in a high- priced brothel. Joe gains access easily, killing everyone on the premises with a ballpein hammer he bought at the hardware store in preparation for the job. He carries the blonde girl Nina (Ekaterina Samsonov) away on his shoulders.

It’s not long before the two are stalked, more blood is shed, including Joe’s, and Nina is gone. As the plot goes deeper into complications involving men in high places, dreamier imagery kicks in, even as the violations become more gruesome and egregious. Joe’s mother becomes one of the victims, and is seen in the aftermath of a particularly stomach- turning death. Download Prem Ratan Dhan Payo (2015) Movie Score there. The film goes all- out poetic and slo- mo for a brief time as he handles her unique body- disposal arrangements.

There’s more to come, involving a nighttime visit to the governor’s opulent historic mansion, and, of course, more thick, glossy red blood. At one point, Joe is asked, “Where do you want to go,” and he replies with a blank look, “I don’t know.” Someone needs to ask Ramsey the same question. The Un Certain Regard sidebar today premieres “Directions” by Stephen Komadarev (“The Judgment”). In 2. 01. 0, Komandarev’s “The World Is Big and Salvation Lurks Around the Corner” was the first- ever Bulgarian film to be short- listed for an Oscar.

Set in a series of taxicabs, “Directions” is an episodic film that lets loose with much black humor alongside dark stories of disillusion, betrayal and despair, to draw back the curtain on a nation’s collective howl of pain. Using the circumstances of a taxi that picks up disparate strangers as the vehicle to transition through a series of stories is not a new idea.

Jafar Panahi’s 2. Taxi” comes to mind as just one recent example. The device may not be original to Komandarev, but he brings poignancy and a zesty sense of humor to “Directions,” while exposing the unfunny fallout from a failing economy, political corruption, and mass immigration to greener pastures by those able to manage it. Advertisement The murder of a banker who was shaking down a part- time cab driver, the owner of a failing business, is the top news story of the day in the city of Sofia. While the driver lies in an irreversible coma, debates pro and con his action rage on late night talk radio. Every taxi driver in the city is tuned in, and the commentary punctuates the situations that play out as five drivers meet up with fares through the night. Some of the segments are meant as pure comic relief, like the one in which a businessman’s lie to his wife in a phone call is exposed by a traffic incident and the frisky moves of his companion.

Several segments begin humorously then take a sharp turn to expose the deep- seated despair of customers who are out of options in life. A driver spots a man poised to jump from a highway bridge, and pulls up to claim that he received his call for a cab and won’t leave until he gets paid. He doesn’t recognize her but she recognizes him from her university days, when his retaliation in the wake of her sexual rejection of him changed the direction of her life. On the way to a fateful meeting that will tie together the film’s larger theme they argue metaphysics.

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Soundtracks. Performed by Wayman Davis. Written by Kitra Williams and Jarah Gibson. Music written and arranged by Wayman Davis for Nu- Rhythmn See more ».