What Movies Are Critics Most Excited To See At Cannes 2. Every week, Indie. Wire asks a select handful of film and TV critics two questions and publishes the results on Monday. From the inevitable return of Michael Haneke to the shocking inclusion of television (albeit television from celebrated Cannes alumni David Lynch and Jane Campion), the 7.

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July 17, 2017 IFF17 Stories Of Love That Cannot Belong To This W (15+) 12th, September 2017.

We asked our panel of critics to name the Cannes premiere they’re most excited to see, and their answers were unsurprisingly all over the map. April Wolfe (@awolfeful), LA Weekly. Lynne Ramsay’s “You Were Never Really Here.”My stomach knots are finally unraveling knowing that Ramsay’s about to unleash another film to finally follow up her terrifying 2. We Need to Talk About Kevin.” I think Hollywood gave her a bad rap, labeling her as the bitchy woman when she exited “Jane Got a Gun” (which also apparently made her uninsurable on set) — a total double standard in an industry with quite a few toxic, unchecked male directors still making movies. Anyway, aside from the prolonged lead up to a new film, I’m so looking forward to another Ramsay literary adaptation, because very few directors have her ability to capture the tone and feeling of literature on screen. And dear god, she can make even the most emotionally horrifying stories funny and strange (see: John C.

Reilly in “Kevin”), so knowing that this film is going to tackle the very real epidemic of sex trafficking makes me giddy because it’ll open up a conversation on a worthy topic while retaining its entertainment value: A win- win! Richard Brody (@tnyfrontrow), The New Yorker.

The Cannes Competition lineup has grown musty and conservative; it has about half a dozen bold and original filmmakers and lots of art- house moderates applying the anonymous international style to their brand of contentand, even more, of attitude. On the other hand, I never write off a filmmaker, and, since I haven’t of course seen any of these films, I’m hoping for some pleasant surprises. The list did offer at least one unpleasant surprise, the absence of Bruno Dumont’s new film, “Jeannette,” a musical about Joan of Arc.

In any case, some of the best living filmmakers are represented in the main- slate selections, including the Safdie brothers, Sofia Coppola, and Hong Sang- soo; but there’s one filmmaker of an overarching historic greatness who’s got a film in the festival this year, even if not in competition — Claude Lanzmann, whose film, “Napalm,” is said to be about North Korea. Those who’ve read Lanzmann’s autobiography, “The Patagonian Hare,” know what a distinctive and surprising role that country plays in Lanzmann’s life; nonetheless, I expect that the film will be. Go, Josh and Benny, Go! Mallory Andrews (@mallory.

But the movie I’m most curious about, having not seen a single frame, is Todd Haynes’ “Wonderstruck.” Not only for the promise of Haynes reuniting with Julianne Moore (“Safe” is still an all- time masterpiece), but also to see him collaborate with Michelle Williams for the first time. Williams has become one of my favourite actresses working today, and pairing her with a director whose films I’ve consistently loved is extremely exciting. I’m ready to be emotionally overwhelmed by meaningful Williams glances.

READ MORE: 1. 7 Shocks And Surprises From The 2. Cannes Film Festival Lineup. Jude Dry (@jdry), Indie. Wire. How, indeed, to single out only one? It feels like the entire world is excited about “Twin Peaks,” and rightfully so.

As a John Cameron Mitchell devotee, I am cautiously optimistic about “How to Talk to Girls at Parties.” The odd couple collaboration between Lynne Ramsey and Jonathan Ames is too unexpected not to be amazing. But I am certain that Kiarostami’s final film, “2. Frames,” will knock me off my feet, because his films always do. It is impossible to watch a Kiarostami film without being completely transported. The man can turn a simple car ride or series of voicemails into some of the most truthful and heartbreaking moments I have ever witnessed onscreen. Small, human moments evoke a lifetime of experiences in his film; uniquely specific and always universal. Max Weiss (@maxthegirl), Baltimore magazine.

Tough question! This lineup is so inspiring I would actually fly United to get to Cannes. That being said, a new Sofia Coppola film is treated like a national holiday in my house, so it’s got to be “The Beguiled.”Charles Bramesco (@intothecrevasse), Freelance for the Guardian, Nylon, Vulture. Attending the Cannes Film Festival for the first time in 2. I did last year. I saw lots of phenomenal movies, drank ros. It’s like, who even cares? I will have a lot of fun here in America attending the theatrical release of — let me take a look at May’s slated releases — “Diary of a Wimpy Kid: The Long Haul.” Jesus Christ.

READ MORE: 17 Shocks And Surprises From The 2017 Cannes Film Festival Lineup. Jude Dry (@jdry), IndieWire. How, indeed, to single out only one? It feels like the.

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At least “Okja” and “The Beguiled” have summer release dates, the wait for those won’t be too interminable, and A2. Watch Cop Car (2015). November run for “Killing of a Sacred Deer.” I’m plenty excited for “Loveless,” which I understand to be Russian master Andrey Zvyaginstev’s “Across the Universe”- style My Bloody Valentine jukebox musical.

But it’s the nebulous, far- off ones I ache for the most; I can’t stand to wait a year to watch the Super Safdie Bros. My coworker said Haynes was “hacky,” making pale remakes of better films like “Brief Encounter” and “All That Heaven Allows.” I went off.

Haynes’ reappropriation of stories mired (intentionally or otherwise) in heterosexuality and queering of them has always been of interest to me, as has his semoiticians’ eye for images and deep empathy for his queer and/or female characters. So, even though I won’t be at Cannes, I’ll be waiting eagerly for Haynes’ “Wonderstruck.”Christopher Campbell (@thefilmcynic), Nonfics and Film School Rejects. The festival’s tastes in documentary, when it shows at all, typically bores me, but this year’s program includes a couple nonfiction titles I’m looking forward to. One is Eugene Jarecki’s “Promised Land,” not because I have any interest in Elvis Presley but because I’m a fan of the filmmaker’s past work. More than that, I am very intrigued by Claude Lanzmann’s “Napalm,” a rare doc from him not involving footage originally shot for “Shoah.” This one is focused on North Korea, with which he has some history, some of it romantic, based on parts of his 2. The Patagonian Hare.”Kristy Puchko (@Kristy.

Puchko), Nerdist/Pajiba/CBRI’m most excited to see John Cameron Mitchell’s “How To Talk To Girls At Parties.” There’s a slew of titles I’m confident will have critics orgasmic (Todd Haynes’s “Wonderstruck,” Yorgos Lanthimos’s “The Killing of a Sacred Deer,” Lynne Ramsay’s “You Were Never Really Here”), and some I’m sure i’ll be gaga over when I eventually get to see them (Bong- Joon Ho’s “Okja”). But this one has an intoxicating combination of elements that spikes my curiosity to wonder how and if they can come together. Based on the Neil Gaiman short story of the same name, it’s a simple tale of a boy going to a party, and meeting a girl who is literally other- wordly, in that she’s an alien. It’s a twee premise that could so easily be sickly so or drowned in nostalgia, but Mitchell’s past work has me confident this will be something elegant, weird, and wondrous. He went from the ferocious and fun rock n’ roll- fueled romp “Hedwig and the Angry Inch” to the graphic and tender “Shortbus,” to the elegiac and gutting “Rabbit Hole.” It’s incredible these three very different films all came from one auteur, each proving how impossible Mitchell’s aesthetic is to pin down.

It’s this mystique that entices me to see what he’ll do with a sci- fi infused coming of age story. That “How To Talk To Girls At Parties” also boasts appearances from Ruth Wilson, Elle Fanning, and Nicole Kidman doesn’t hurt.“The Killing of a Sacred Deer”Manuela Lazic (@Mani. Lazic), Freelance for Little White Lies, The Film Stage. While the exceptionally high level of last year’s line- up may never be reached again in my lifetime or ever, I am still excited for the 2.

DGA, Judd Apatow Add to Outcry Over Sony’s Clean Version Movies. The Directors Guild of America and Judd Apatow have objected to Sony Pictures Home Entertainment “clean version” initiative allowing viewers to screen edited versions of two dozen Sony films. The studio announced on June 7 that it was making the broadcast TV or airline version of these 2. Tunes, Vudu, and Fandango. NOW. The DGA said in a statement Tuesday that Sony is violating the guild’s master contract with the major studios.“Directors have the right to edit their feature films for every non- theatrical platform, plain and simple,” the DGA said.

Throughout the years, the DGA has achieved hard- fought creative rights gains protecting our members from such practices. As creators of their films, directors often dedicate years of hard work to realize their full vision, and they rightfully have a vested interest in protecting that work. We are committed to vigorously defending against the unauthorized alteration of films.”Apatow wasn’t as, um, censored on Twitter: “This is absolute bullsh– and @sony and @Sony. Pictures is gonna get hell for F—— with our movies. Shove the clean versions up your asses!”For its part, Sony has asserted that the program’s offerings are pre- existing airline or TV versions of films, which were not edited specifically for this program and are not sold separately.

The clean versions are available as extra features only when a customer buys the original theatrical version from one of the select digital retailers. The films include all five versions of “Spider- Man” along with “5. First Dates,” “Battle Of The Year,” “Big Daddy,” “Captain Phillips,” “Crouching Tiger Hidden Dragon,” “Easy A,” “Elysium,” “Ghostbusters,” “Ghostbusters II,” “Goosebumps,” “Grown Ups,” “Grown Ups 2,” “Hancock,” “Inferno,” “Moneyball,” “Pixels,” “Step Brothers,” “Talladega Nights: The Ballad of Ricky Bobby” and “White House Down.”“This is a pilot program, developed in response to specific consumer feedback, that offers viewers the option of watching an airline or TV version of certain movies when they purchase the original version,” said Sony Home Entertainment President Man Jit Singh in statement.