We’re currently in the middle of the 2018 Cannes Film Festival, which commenced on Tuesday, May 8 and will run through Saturday, May 19, and this year has already seen some changes and controversies, such as the schedule shuffle by Festival Director Thierry Frémaux, and the last-minute Netflix pull-out. If you’re looking for good news, this year’s Cannes has also brought unusual attention to some talented, lesser-known directors. But If you want to understand what’s happening at Cannes, here are ten things you need to know — about the festival in general as well as what’s new in 2018.
The Game Changers, directed by Louie Psihoyos, Academy Award winning director of The Cove, and produced by fellow Academy Award winner James Cameron, is screening at the 2018 Hot Docs Festival in Toronto. This 88-minute documentary, written and produced by Joseph Pace, stars James Wilks, an elite special forces trainer and winner of The Ultimate Fighter. Game Changers follow Wilks as he travels across multiple countries and investigates and exposes outdated and dangerous myths about protein, strength and masculinity. I learned that, along with Wilks, James Pace is actually the one who conceived of this film and was with it from the very beginning. In this interview, Joseph Pace tells us about the challenges of making the film, the film’s journey to the doc festival circuit, and the responses from those who have seen it.
This documentary has become Real News, as filmmaker Morgan Pehme is testifying to serious news outlets about the all-too-relevant relationship that he was privy to while making his film “Get Me Roger Stone.” What Pehme heard and saw while filming that documentary may be shedding light on the shadowy relationship between Trump’s campaign advisor Roger Stone and WikiLeaks founder Julian Assange, helping to connect the dots between Trump, Stone, Assange, Wikileaks, Cambridge Analytica, Paul Manafort and the Kremlin. Is it all a conspiracy theory? Well, it may be, and if it is, it will delight the spotlight-loving Roger Stone all the more.
I am feeling some guilt for kinda dissing Patti Smith in the last essay I wrote – just glibly dashing off a few lines about her Tribeca Film Festival appearance at the premier of Horses: Patti Smith and Her Band, the new documentary about her 40th anniversary performance of her 1975 debut album of the same name, followed by a live concert at the Beacon Theater. I hadn’t planned on writing about that film or event, but it sort of just came out as I typed my introduction to a lengthy film review of a wild, crazy, mind-blowing movie…
Ghostbox Cowboy had me running home, alone and in the dark, scared for reasons I didn’t understand, but definitely totally freaked out, looking over my shoulder for I don’t know who or what. Man, what a relentlessly grim, dark, bleak, terrifyingly phantasmagoric dystopian nightmare of a movie. I tried to shake it off before I went to bed. I couldn’t. I woke up in a wobbly and disoriented state, having dreamt about it, and then sat down at my computer and saw email from the film’s P.R. guy thanking me for attending the screening and asking if would share my thoughts on the film. What the fuck, motherfucker?!
It’s hard to choose which was worse – the acting or the script or the directing. Sarah Jessica Parker, as Vivienne the lounge singer with a life in which no one truly cares about her, tries way too hard to show us without telling us how distraught she is over her very-bad-news medical diagnosis. I kept thinking, “Please give her a line to say, so she stops desperately gesticulating in order to make us believe she believes she really might die.”