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Category: Cannes 2012

Cannes 2012: Sony Pictures Classics picks up Gael Garcia Bernal's 'No'

May 22, 2012 |  2:31 am

Sony Pictures Classics announced at the Cannes Film Festival that it had acquired North American rights to the buzz dramedy "No"
"No," Gael Garcia Bernal's tersely titled tale of 1980s Chilean politics, is headed to theaters.

Sony Pictures Classics announced Tuesday morning at the Cannes Film Festival that it had acquired North American rights to the buzz dramedy. Though it had played the comparatively smaller Directors' Fortnight section, "No" had been attracting festival-goer interest and critical attention since it screened in the early days of the event. The Times' Kenneth Turan was a strong supporter of the film.

Directed by Pablo Larrain ("Tony Manero") and set in 1988, "No" stars Bernal as Renee Saavedra, a Chilean advertising executive recruited by the opposition after dictator Augusto Pinochet calls for a referendum on his presidency.

Floundering with dour campaigns about human-rights abuses, the opposition (nicknamed "No") hopes Saavedra can bring a little flash to the campaign; much of the movie then unfolds as Saavedra's jazzy approach collides with the opposition's serious one.

The movie also explores Saavedra's complicated home life, with his wife a more serious opposition ideologue.

Shot to look like a 1988 VHS movie, the film has elements of comedy, satire and drama. It's based on a true story, with Pinochet eventually losing the election.

In an interview with 24 Frames, Larrain said he wasn't concerned about the esoteric subject matter. "I think a lot of people outside Chile know a little about Pinochet but they'd like to know more," he said. "They know the story of how he got in, but they don't know how he got out."

RELATED:

Cannes 2012: Auteurs take a shine to Americana

Cannes 2012: Michael Haneke's "Amour" feels the love

Cannes 2012: Is "Sapphires" a fine gem or costume jewelry?

-- Steven Zeitchik

Photo: Gael Garcia Bernal in "No." Credit: Cannes Film Festival

 

Cannes 2012: SPC picks up Gael Garcia Bernal's 'No'

 

"No," Gael Garcia Bernal's tersely titled tale of 1980's Chilean politics, is headed to theaters.

 

Sony Pictures Classics announced Tuesday morning at the Cannes Film Festival that it had acquired North American rights to the buzz dramedy. Though it had played the comparatively smaller Directors’ Fortnight section, "No" had been attracting festivalgoer interest and critical attention since it screened in the early days of the festival. The Times' Kenneth Turan was a strong supporter of the film. (Link?)

 

Directed by Pablo Larrain ("Tony Manero") and set in 1988, "No" stars Bernal as Renee Saavedra, a Chilean advertising executive  recruited by the opposition after dictator Augusto Pinochet calls for a referendum on his presidency.

Floundering with dour campaigns about human-rights abuses, the opposition (nicknamed "No") hopes Saavedra can bring a little flash to the campaign; much of the movie then unfolds as Saavedra's jazzy approach collides with the opposition's serious one.

 

The movie also explores Saavedra's complicated home life, with his wife a more serious opposition ideologue.

 

Shot to look like a 1988 VHS movie, the film has elements of comedy, satire and drama. It's based on a true story, with Pinochet eventually losing the election.

 

In an interview with 24 Frames, Larrain said he wasn't concerned about the esoteric subject matter. "I think a lot of people outside Chile know a little about Pinochet but they'd like to know more," he said. "The know the story of how he got in, but they don't know how  he got out."

 

--Steven Zeitchik


Cannes 2012: Auteurs take a shine to Americana

May 21, 2012 |  6:11 pm

Lawless at Cannes
CANNES, France — Increasingly reliant on global audiences for box office success, many Hollywood studios are muting elements that might be considered too American. But prestige filmmakers working outside the studio system — including several from other countries — are doubling down on the red, white and blue. They are churning out movies that are not only set in America but that also traffic distinctly in Americana.

At the Cannes Film Festival, which serves as perhaps the most important window on the state of prestige film, Americana-themed pictures abound. The movies include “Mud,” a modern take on “Huckleberry Finn”; “Lawless,” a story of gangsters and bootleggers during Prohibition; “Beasts of the Southern Wild,” a folkloric tale set amid the Louisiana bayous; “Moonrise Kingdom,” a look at life in a New England summer camp; and “On the Road,” based on the generation-defining Beat novel by Jack Kerouac. All but “Mud” are set to come out in the U.S. before the end of the year.

“I think there's a notion among independent filmmakers now that myth has run aground in our country's mainstream film culture — we have sequel disease, Sherlock Holmes is getting bastardized, Snow White is being turned into the ‘Twilight’ girl,” said Benh Zeitlin, director of “Beasts.” “Some of us outside Hollywood feel like our response should be to raise and reclaim our basic myths.”

To do so, these filmmakers are taking recognizable Americana elements and adding new — but, they hope, respectful — twists. “Beasts,” which tells of a 6-year-old girl named Hushpuppy who is fighting for survival after a devastating storm, mixes in giant, imaginary creatures with its more traditional Southern-fried tale. “Mud” has two modern-day boys a la Tom Sawyer and Huck Finn taking to the Mississippi River and coming across an interesting stranger — only instead of an escaped slave it's an enigmatic slacker played by Matthew McConaughey.

And in “Lawless,” filmmakers tackle an Al Capone-type story — only this time the crime-running family is in rural Virginia, not big-city Chicago.

What's especially surprising is that many of these directors don't come from the U.S. “On the Road” is directed by Walter Salles, a Brazilian-born director who lives in Paris; while “Lawless” director John Hillcoat and screenwriter Nick Cave hail from Australia.

“I think if Nick and I had been American we would have done a lesser version of this movie, or we wouldn't have done it at all,” Hillcoat said in an interview at the festival. “It sometimes takes someone far away from a place to have the freshest take on it.”

Continue reading »

Cannes 2012: Michael Haneke's 'Amour' feels the love

May 20, 2012 |  7:23 pm


Michael Haneke's AmourConsensus at Cannes is about an improbable as a Del Taco at the Louvre. But the numerous critics and wide swath of public filmgoers attending the festival seem to have found common ground on a new movie: the mortality drama “Amour." Michael Haneke’s meticulous look at an octogenarian man and the wife he is slowly losing to the after-effects of a stroke (the French-language film is referred to as "Love" in English) scored raves from critics as well as a warmly enthusiastic reaction from the public when it premiered Sunday in a rain-soaked Cannes.

Sunday night’s post-screening standing ovation, a key measure of Cannes sentiment, topped seven minutes, and audience members could be heard buzzing about the film on the way out in the manner you wouldn’t expect from a movie about a slow death.

Like its main characters’ existence, the film’s dramatic furniture is simple. Some problems with their grown daughter (Isabelle Huppert) notwithstanding, octogenarians Anne (Emmanuelle Riva) and Georges (Jean-Luis Trintignant) have led a comfortable, cultured life as music teachers, and seem to be enjoying a relaxed retirement. But when Anne is felled by a stroke, their idyll is destroyed. She begins declining mentally and physically, and he is pressed into a thousand difficult tasks while watching the love of his life fade away, asked to do a lot but not able to do anything where it really counts.

It’s the kind of movie that brings filmgoers starkly face-to-face with the realities of failing health and death. Older viewers will be more likely to focus on themselves; younger filmgoers will think of parents and grandparents.

Those with good memories and/or a taste for mortality cinema might watch "Amour" and recall "Away From Her," Sarah Polley's 2006 examination of a marriage ravaged by dementia, though there’s undeniably something more intimate and under-your-skin here. There are also a few shocking moments in the vein of some of Haneke’s more famous provocations, but it’s generally a low-key work; if gentle Haneke isn’t an oxymoron, then that’s how it’s best described. (More shortly from Haneke himself on his eclectic career--from "The Piano Teacher" to "Cache" to "The White Ribbon"--and the process behind this film.)

"Amour" will be released by Sony Pictures Classics later this year, when it will face some hurdles. Some moviegoers know of Haneke’s reputation as a master of the uncomfortable and may pass on those grounds; others simply may not want to see a drama focused on death and dying.

Much of the promotional campaign, though, could be built around the actors, whose back stories are almost as compelling as the film. In their eighties themselves and, as a press conference indicated, more slow-footed than they once were, Riva and Trintignant hark back to an earlier time in entertainment. Riva, whose performance here makes her an instant Oscar contender, began her career in the wartime romance "Hiroshima Mon Amour" 53 years ago. (She would turn 86 the day of next year's Oscars, the oldest age of any nominee in history by about five years.)

Though 81,  Trintignant  has been working even longer, notably starring in movies such as Costa-Gavras’ best picture nominee “Z” over a remarkable 56-year career.

Still, Trintignant had been in retirement and hadn’t had a bona fide film part in nearly 15 years before Haneke lured him back. “I didn't want to act in films anymore,” Trintignant told reporters Sunday morning, saying he had been concentrating on occasional theater work. “But when Haneke offered me this part it was an exception,” describing how demanding the filmmaker is.  He then added to some laughter, “I think he's one of the great directors in the world, and it’s a wonderful opportunity. But I won't do it again.”

RELATED:

Cannes 2012: Is 'Sapphires' a fine gem or costume jewelry?

Cannes 2012: Shia LaBeouf's 'Lawless,' parable for the drug war?

Cannes 2012: Redoing Romeo and Juliet for the Twilight generation

--Steven Zeitchik

twitter.com/ZeitchikLAT

 Photo: Amour. Credit: Sony Pictures Classics


Cannes 2012: Is 'Sapphires' a fine gem or costume jewelry?

May 20, 2012 |  5:26 am

Sapphi
Last week at this time, even attentive Cannes-goers hadn't heard of "The Sapphires," an Australian comedy about an Aboriginese singing troupe that's directed by an unknown and featured no prominent stars.

But as is often the case at a festival, Wayne Blair's 1968-set movie -- which centers on a quartet of struggling Aussie singers who find unlikely fame in Vietnam performing for U.S. troops -- vaulted from obscurity in the blink of an eye. And as is also often the case at festivals, Harvey Weinstein was the reason for the jump.

As Cannes was getting underway last Wednesday, Weinstein bought the movie's U.S. distribution rights -- he would go on to pick up three movies in three days -- putting the film on the map for festival-goers. On Saturday "The Sapphires’" stock rose further after a spirited premiere screening that saw the  unknown Australians who play the singers (Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell) as well as Irish actor Chris O'Dowd (who plays their manager) get rousing ovations.

Weinstein stoked the flame further when, later that night at a party for his Cannes film "Lawless," he walked up to a reporter and, grabbing the reporter's arm, said: "Have you seen ‘The Sapphires’? ‘The Artist’ just happened again."

Fans of the film said that while it may be a little too soon to make that proclamation, the movie’s music, comedy and feel-good premise position it strongly for breakout success.

But not all Cannes-goers were on board. Around the festival's parties Saturday night and the screening halls Sunday morning, some said the whole thing had the feeling of classic Weinstein showmanship. While the naysayers acknowledged that the film (which is not yet dated for release) had crowd-pleasing elements, it was nothing that hadn't been done before or better in working-man comedies like "The Full Monty."

And others pointed out that it was unlikely to get anywhere close to the critical support of "The Artist." Indeed, a quick survey of critics around Cannes suggested that the film did not measure up to the festival’s top offerings. As Variety critic Justin Chang tweeted a few hours after he had seen Michael Haneke's "Love," "A film like 'Love' reminds you of the folly of festivals. Went straight to 'Sapphires' afterward, resented having Haneke's spell broken."

Festivals are often about the delicate game of managing expectations. The same movie can be a masterpiece or a disappointment depending on whether people see it believing it should or will be great. Weinstein has now set the bar high. We'll see if he meets it...or moves on to another acquisition.

RELATED:

Cannes 2012: Redoing Romeo and Juliet for the Twilight generation

Cannes 2012: Gael Garcia Bernal says 'No'

Cannes 2012: Shia LaBeouf's 'Lawless,' parable for the drug war?

--Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: "The Sapphires." Credit: The Weinstein Co.

Deborah Mailman ... Gail 27,563 
Jessica Mauboy ... Julie 49,477 
Shari Sebbens ... Kay 44,598 
Miranda Tapsell ... Cynthia

Cannes 2012: Redoing ‘Romeo & Juliet’ for the Twilight Generation

May 19, 2012 |  1:03 pm

Romeoand

CANNES, France -- A film version of "Romeo and Juliet" seems to pop up every generation. Are the Millennials ready for one to call their own?

The people behind a recently wrapped production of the classic love story believe they are. The simply titled “Romeo and Juliet” is a somewhat unexpected collaboration between high-end Austrian design house Swarovski (it financed and also brought some of its fashion savvy) and Julian Fellowes, the novelist and Oscar-winning screenwriter (he wrote the script).

Starring British teen Douglas Booth and “True Grit” It girl Hailee Steinfeld as the star-crossed pair, the film looks to capitalize on the timelessness of the love story and the youthful appeal of its stars. It is being directed by Carlo Carlei, an Italian director who shot the traditional costume period piece in Italy earlier this year.

The film is still being edited, with footage shown to buyers here at the Cannes Film Festival. The idea is to eventually land a U.S. deal and bring it out Stateside, possibly, though not necessarily, in 2013, according to producers. It’s one of several new spins on the classic play currently being attempted by Hollywood and independent financiers.

At a swishy beachside party Saturday night aimed at shining a light on the Steinfeld project, filmmakers gathered to toast their film and woo distributors such as Sony Pictures Classics, whose executives were in the room. Sparkly Swarovski bracelets were handed out and a designer-cocktail menu with concoctions like "The Capulet" and "The Montague" was served. 

But despite the setting and the source material, the filmmakers said they were aiming for youthful, populist entertainment.

“It’s a classic story that we want every teenager in the world to come see,” Ileen Maisel, one of the film’s producers, told 24 Frames, adding that even though the dialogue retained Shakespeare’s flavor, it was uttered in “understandable iambic pentameter."

Or as one of the film’s publicists put it: “This is ‘Romeo and Juliet’ for the Twilight Generation.”

Central to that effort is Steinfeld, a teen star since her breakout turn in “True Grit" in 2010. It was hard Saturday night to forget Steinfeld’s presence in the film, with a giant painted portrait of her dressed in full Juliet regalia adorning one end of the party's lounge space.

The tortured-love vibe of “Romeo And Juliet” is felt strongly in much of today's youth entertainment. But given that baby boomers had their version of the Shakespeare classic (Franco Zeffirelli’s in 1968) and Generation X had its version (1996’s quick-cut “Romeo + Juliet,” directed by Baz Luhrmann), it was only a matter of time before someone in the 21st century tried the actual thing. The Cullen-obsessed, these filmmakers hope, want some of their dramatic romance without vampires, too.

RELATED:

Cannes 2012: Gael Garcia Bernal says 'No'

Cannes 2012: 'Gomorrah' director aims at sins of reality TV

Cannes 2012: Shia LaBeouf's 'Lawless,' parable for the drug war?

--Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: Hailee Steinfeld and Douglas Booth in "Romeo and Juliet." Credit: Swarovski Entertainment


Cannes 2012: Shia LaBeouf's 'Lawless,' parable for the drug war?

May 19, 2012 |  5:58 am

Lawless

CANNES, France -- With its atmospheric period details and heavy helpings of outlaw violence and dialects, the Prohibition-era bootlegging drama "Lawless" practically smells like it's from another era.

But those who worked on the Shia LaBeouf-Tom Hardy movie, which has its black-tie premiere Saturday night at the Cannes Film Festival, say it's surprisingly of the moment.

"There are a lot of parallels to today, with the economic crisis, the political crisis, the war on drugs," director John Hillcoat told reporters at a press conference Saturday morning after the drama screened for media. "At one point we even had a montage at the beginning with what was happening now with the Mexican cartels, and that wound back to the '80s cocaine wars in Cuba and heroin in New York ... until we landed on Prohibition.

"That was the birth of serious crime," the Australian director added, "and it feeds into everything that's going on today."

Based on Matt Bondurant's family memoir "The Wettest County in the World," "Lawless" centers on a group of brothers in 1920s Franklin County, Va., who find their lucrative bootlegging business threatened by rivals as well as a conniving law-enforcement officer (played by Guy Pearce). There are numerous gun battles and moments of heavy violence -- and not the kind of abstract or poeticizied violence one might typically expect from a Cannes film.

 "That's the way Hillcoat does his violence," said LaBeouf, who brings a certain level of candor to film festivals (two years ago at Cannes he admitted that he and the filmmakers "botched" the latest Indiana Jones). "It' s messy, it's dirty, it's realistic. It's not rehearsed like a ballet."

Nick Cave, the musician turned screenwriter who wrote the script, said it was a kind of bloodlust that made him want to write the film.

"I didn't have that much interest in when it was actually set. It was more the flavor of that book that took me ... the excessive violence," he said, then deadpanned, "That's what titillates me, sentimentality and excessive violence."

Much of the violence of the 1920s, of course, stemmed from the ill-conceived  ban on alcohol, prompting both Hardy and LaBeouf to be asked if today’s war on drugs was similarly misguided.

"As the professional -- in retirement," Hardy began, then paused. "I don't want to make any political statements. There's a good argument to say 'legalize drugs' and a good argument to say [don't] .... That's my stand -- whatever floats your boat." Then he added, “Just don't get caught."

LaBeouf, who in the past has had a reputation for wild living, seemed set to answer the question when the moderator instead stepped in to call on another reporter. "Next question, next question," LaBeouf said, smiling.

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-- Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: Tom Hardy and Shia LaBeouf in "Lawless." Credit: Weinstein Co.


Cannes 2012: Gael Garcia Bernal says 'No'

May 19, 2012 |  5:51 am

Gael

CANNES, France -- Films with buzz at Cannes usually come from one of the official selection’s numerous sections, but this year one of the early popular favorites, and deservedly so, hails from the festival’s genial crosstown rival, the Directors’ Fortnight.

That would be the simply named “No,” directed by Chile’s Pablo Larrain, best known for his previous film, “Tony Manero.” Here he’s taken a little-remembered event in his country’s recent history and made it into a smart, involving, tangy film that mixes reality and drama to provocative effect.

In 1988, after 15 years of authoritarian rule, Chile’s leader, Gen. Augusto Pinochet, responded to international pressure by agreeing to hold a plebiscite on his rule. Each side, including the "No" forces, would get a rare 15 minutes of uncensored television time to state their case.

It is the conceit of Larrain’s film (screenplay by Pedro Peirano, based on a play) that the "No" TV spots, which in reality were done by committee, were in large part the idea of one advertising man -- Rene Saavedra.

Beautifully played by Gael Garcia Bernal, Saavedra has the counterintuitive idea of selling the "No" vote the same frothy, soft-focus way he would have sold a soft drink or a microwave oven.

But rather than embracing this subversive idea, everyone is against it, including Saavedra’s ad agency boss, his estranged and politically active wife, and the political coalition that is his client. And don’t even ask what happens when the Pinochet people start to understand his strategy.

Directed by Larrain in a confident, assured style, and benefitting from the use of the actual ads that ran in 1988, “No” is a most unusual underdog story, the kind of heady, relevant filmmaking we don’t see often enough at Cannes. Or anywhere else.

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Cannes 2012: 'Gomorrah' director aims at sins of reality TV

Cannes 2012: Is Roman Polanski seeking some image rehab?

Cannes 2012: An Osama bin Laden battle brews by the beach

-- Kenneth Turan

Photo: Gael Garcia Bernal in "No." Credit: Cannes Film Festival


Cannes: Audiard sought to make film whose 'protagonist was love'

May 18, 2012 |  5:15 pm

Jacques audiart marion cottilard
CANNES, France — Honored with nine Césars, winner of the Grand Jury Prize at Cannes in 2009 and nominated for the best foreign-language Oscar, the intense prison drama “A Prophet” made French writer-director Jacques Audiard’s international reputation. But by the time it was over, the filmmaker was ready for something different.

“Fifteen weeks shooting, a 9-square-meter cell, no natural light, only men, no women,” he said, sitting on a rooftop terrace here Friday and recalling the exertions required to make “A Prophet.” “So I felt a strong desire to do a love story, with sun, with light, with space. A film with women.”

That film is “Rust & Bone,” screening at this year’s festival in competition, but don’t expect a soft, fluffy movie. Audiard’s idea of a love story is edgy and fearlessly emotional.

Starring Oscar winner Marion Cotillard as a trainer of killer whales and Belgian sensation Matthias Schoenaerts as a violent, disconnected security guard, “Rust & Bone” has been well-received here, further cementing Audiard’s place in the very top rank of French directors.

Continue reading »

Cannes 2012: Next up for Jacques Audiard, a drug cartel musical?

May 18, 2012 |  2:37 pm

Jacques audiard

CANNES, France -- With “Rust & Bone” stirring major buzz at the Cannes Film Festival, just now opening in theaters in the rest of France and months away from cinemas in the United States, director Jacques Audiard is far from ready to decide on his next project. One unexpected notion, however, has crossed his mind.

“I really feel like making a musical comedy about weapons and the drug traffic,” he said in an interview Friday on a Cannes rooftop with a gorgeous view of pleasure boats at anchor. “I was very struck by hearing that each of the drug cartels in Colombia has their own band and their own song writers to write music about them."

In a similar vein, Audiard expressed admiration for Brazilian director Glauber Rocha’s little-seen 1964 bandit classic “Black God, White Devil.”

As the director of "A Prophet" has proved repeatedly, business as usual is not on his mind.

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Cannes 2012: An Osama bin Laden battle brews by the beach

– Kenneth Turan

Photo: Jacques Audiard in Cannes on Friday. Credit: Stephanie Cornfield / For The Times


Cannes 2012: 'Rocky' producer to take fight to Rebekah Brooks

May 18, 2012 | 10:06 am

 

Rebekah
Few media figures get liberal pundits' blood boiling more than Rebekah Brooks, the disgraced former News of the World editor who has been criminally charged in the News Corp. phone-hacking scandal.

But for moviedom, there’s a different question: Can she make a good film subject?

Gene Kirkwood, a longtime Hollywood producer who counts "Rocky" and "The Pope of Greenwich Village" among his credits, is betting she can. He's acquired rights to Suzanna Andrews' February 2012 Vanity Fair article about the redheaded wunderkind brought low and aims to turn it into a feature. (You can read the original piece here.)

In an interview at a Cannes hotel Friday afternoon, Kirkwood explained why he thought she'd make a captivating protagonist despite an, er, distinct lack of sympathy.

"It's a 'Great Expectations' story about a person who came from nothing. If Dickens was around today, he'd be writing the screenplay." Kirkwood said, adding. "You don't mess around with the facts; you tell it very straightforwardly and let the drama come out naturally."

The Brooks project, which has not yet brought on or a writer or director, leads the slate of a new company called BiteSize Entertainment that Kirkwood is forming with a tech entrepreneur named Ron Bloom (who currently runs a video-platform outfit known as Melvio).

The idea, he and Bloom said, is to merge the speed and savvy of digital culture with the glitz and talent of Hollywood, all in the service of theatrical features. They laid out how they'd like to do it -- a group of low-budget movies, a production studio being built at the W hotel on Hollywood Boulevard, making  content that will help market the film ahead of its release instead of being tacked on to a DVD.

"We want to show the drama behind the drama," Kirkwood said.  "If it were 'Rocky,' you'd see us running from the Teamsters, or Sly doing his thing down in Philly."

Bloom added, "People are a lot more interested now in how a movie comes together.  We'll give them a  lean-forward way to connect to the film before it even comes out."

The pair also disclosed several other new projects: a dark comedy with "Breaking Bad's" Bob Odenkirk and Bryan Cranston, a movie about Noel Coward’s brief stint in a Vegas nightclub and, intriguingly, “Dream Child,” a script by the late Dennis Potter, acquired from his estate, that examines the real-life relationship between Lewis Carroll and the girl who inspired “Alice's Adventures in in Wonderland.”

All of them, they say, can move through development quickly because the company will operate like a digital studio more than a movie one.

Though the short-form world of Web content hasn't merged gracefully yet with big-canvas theatrical storytelling, Kirkwood said he thought the time was right for a change.

"So much of Hollywood development moves so slowly, and people in Hollywood get frustrated by it. All the actors up in the Hollywood Hills -- they want to work and they can't because the studios don't make their movies. We'll give them an outlet. Val Kilmer can come play Mark Twain if he wants."

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Cannes 2012: 'Gomorrah' director aims at sins of reality TV

Cannes 2012: Is Roman Polanski seeking some image rehab?

Cannes 2012: An Osama bin Laden battle brews by the beach

Cannes 2012: Moonrise Kingdom aims to restore Wes Anderson's crown

-- Steven Zeitchik

twitter.com/ZeitchikLAT

Photo: Rebekah Brooks leaving a London solicitor's office this week. Credit: Peter Macdiarmid / Getty Images


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