NEGATIVE SPACE

Screenshot aus Bruno Dumonts "Slack Bay"-Trailer

Absteigend aufgelistet sind hier die Cannes-Filme 2016 aus allen Wettbewerben, die mich persönlich am meisten interessieren. Die eigene Vorfreude wie auch das Kritiker-Feedback vor Ort sorgen für die Abstufungen, die ich mit Sternen von fünf bis zwei kenntlich mache. Der Ticker wird mehrmals täglich upgedatet:

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Zuammenfassung: Das Festival startete furios: Die deutsche Komödie "Toni Erdmann" von Maren Ade sorgte für internationale Begeisterungsstürme und Punkterekorde in den Kritikerspiegeln. Dann kam aber nicht mehr viel. Alteingesessene Meister und Dauergäste in Cannes lieferten der Presse nach eher schwächere Werke ab. Das schafften sie mit solch einer Konstanz, dass man sich nach den ersten Tagen fragte, ob überhaupt noch Filme gezeigt würden. Da war schon eine Nachricht wie Carla Juris Besetzung in "Blade Runner 2" als perfekt passende Daryl-Hannah-Erbin aufregender als der Rest. Einzig der von mir verehrte Paul Verhoeven schaffte am letzten Programmtag ein echtes Comeback mit seinem Isabbele-Huppert-Film "Elle".
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Most-Wanted 2016:

01. Toni Erdmann - Maren Ade
02. Elle - Paul Verhoeven
03. Raw - Julia Ducournau
04. La mort de Louis XIV - Albert Serra
05. Personal Shopper - Olivier Assayas
06. Paterson - Jim Jarmusch
07. Staying Vertical - Alain Guiraudie
08. Slack Bay - Bruno Dumont
09. The Red Turtle - Michael Dudok de Wit
10. Neruda - Pablo Larraín

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★★★★★

"Toni Erdmann" (Maren Ade): "Was hoping this would be wonderful, but it exceeded expectations x1000. Simply, a great, great, great movie." (David Jenkins, Little White Lies) "Goddamn did I love this. Funny, pained father-daughter story about how you inevitably hurt the people you love. Also, pranks." (Alison Willmore, BuzzFeed) "Just everything: funny, touching, poignant. Impeccable narrative storytelling. The first masterpiece of #Cannes2016. [A]" (Jordan Cronk, Cinemascope) "I've never heard a louder Cannes ovation mid-film than Sandra Hüller deservedly just got for an enforced karaoke moment. What an actress." (Tim Robey, Daily Telegraph) "Tender, unpredictable father-daughter reunion comedy-drama. Delicious - after Loach, another vote for the Human Factor. Very funny, mischievous and... When did you last get a feel good moment in a German art movie? Sandra Huller singing Whitney..." (Jonathan Romney, Screen Daily) "Perfect timing, change of emotions, highly relatable to everybody and super German at the same time. Hüller is amazing." (Beatrice Behn, Kinozeit) "Schaut euch Toni Erdmann an, wenn er am 14.07.2016 in die deutschen Kinos kommt. Ende der Ansage." (Jenny Jecke, Moviepilot) "Unafraid to go big, equally unafraid to acknowledge that grand gestures aren't magical cure-alls. Whitney Schnuck! [82]" (Mike D'Angelo, TimeOut) "Tragikomisches Meisterstück." (Michael Sennhauser, SRF) "German comedy is slight, biting little miracle." (Peter Bradshaw, Guardian) "Lovely comedy-drama about a father-daughter relationship & much more. Great writing, acting; very funny." (Geoff Andrew, Sight & Sound) "TONI ERDMANN is heart-swelling, hysterically funny, wholly unique. The wait was worth it." (Guy Lodge, Variety) "So machte denn Donnerstag die Runde, Thierry Frémaux habe erzählt, ERDMANN sei einer seiner absoluten Lieblingstitel im diesjährigen Lineup." (Thomas Schultze, Blickpunkt:Film)

[Der Trailer sah grauenerregend aus. Aber ich liebe einfach beide bisherigen Maren-Ade-Filme so sehr. Besonders "Der Wald vor lauter Bäumen" halte ich für eine der besten Komödien aller Zeiten. Riesige Freude über das erdbebenartige Echo aus Cannes. Wenn das jemand verdient hat, dann Maren Ade!]

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★★★★½

"Elle" (Paul Verhoeven): "My 2016 Cannes coup de coeur is the last film in competition, Paul Verhoeven's ELLE, a psychological comedy about rape. Amazing." (Boyd van Hoeij, THR) "Has a premise some will find absolutely impassable, but Huppert's character is so very fantastic." (Alison Willmore, BuzzFeed) "Thought I had this pegged as a deliciously perverse ode to embracing one's true nature. Then the ending befuddled me." (Mike D'Angelo, TimeOut) "Eszterhas meets Chabrol in Paul Verhoeven's Elle: horribly incorrect, with glacial anti-clerical satire. An unexpected hit." (Peter Bradshaw, Guardian) "ELLE is a fullsize-verhoeven: moral ambiguity, cold irony, seamless direction. great fun." (Dominik Kamalzadeh, Standard) "Paul Verhoeven's Elle closes #Cannes2016 competition by whisking us down to hell. Delirious, provocative, pitch-black comedy. Huppert superb." (Xan Brooks, Guardian) "Was simultaneously crossing my legs & laughing during Verhoeven's perverse, black as ****, rape comedy gem (!?) ELLE." (Isabel Stevens, Sight & Sound) "Isabelle Huppert might be our best living actor, and ELLE might be Paul Verhoeven's best film. A dangerous wow." (Guy Lodge, Variety) "It's so good to have him back, and the film, a very unusual and provocative portrait of a rape victim, is so elegant, so finely attuned to emotional and sexual nuance." (Todd McCarthy, THR)

"Raw" (Julia Ducournau): "A cleverly written, impressive made and incredibly gory tale of one young woman’s awakening to the pleasures of the flesh – in all senses of the term." (Jordan Mintzer, THR) "Cannibalism meets freshman year self-discovery drama that's gross and great. Bold, bloody debut." (Alison Willmore, BuzzFeed) "A gory piece that is completely original, thrilling and, in a word, impressive." (Benedicte Prot, Cineuropa) "Best neo giallo in a long time." (Damon Wise, Empire) "Suspiria meets Ginger Snap in a muscular yet elegant campus cannibal horror from bright new talent Julia Ducournau." (Catherine Bray, Variety)

[Endlich wieder ein offenbar gelungener Vertreter der Nouvelle Vague Cruellement]

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★★★★

"La mort de Louis XIV" (Albert Serra): "Essentially a death-chamber piece." (Boyd van Hoeij, THR)

"Personal Shopper" (Olivier Assayas): "Cannes gets its first marmite sensation with Olivier Assayas’s uncategorisable – yet undeniably terrifying – drama about a fashion PA trying to exorcise herself of her dead twin." (Peter Bradshaw, Guardian) "Finally a Cannes film to get really excited about! We've all seen dozens of scary ghost movies. This, trust me, is QUITE DIFFERENT." (Jeffrey Wells, HE) "Assayas never plays the same game twice. Part spiderweb, part Chanel sheath, all silken shiver. Stewart kills again. [A-]" (Guy Lodge, Variety)

"Paterson" (Jim Jarmusch): "Jim Jarmusch’s small, perfectly formed Paterson is one of his best. Tender, funny, quite luminously lovely fable on life & art." (Geoff Andrew, Sight & Sound) "I loved Jim Jamusch's PATERSON, and chances are strong that you will, too." (Eric Kohn, indieWIRE) "Jim Jarmusch's PATERSON is a quiet beauty. A shoo-in for the Poem d'Or." (Justin Chang, L.A. Times) "Might be his most existential film, which is saying a lot. Lovely portrait of an artist's sustenance. [73]" (Mike D'Angelo, TimeOut) "A poem in 7 stanzas, repetitions, variations, internal rhymes, endlessly rich, dangerously charming. A-Ha!" (David Jenkins, Little White Lies) "Jarmusch's koan about a bus driver's routine, is a spellbinding lesson in aloneness, and might actually be perfect. I'm floating." (Tim Robey, Daily Telegraph) "PATERSON is droll and lovely: a cool bus driver, a New Jersey town, a book of limpid poem, a quietly moving way with gags. Tonally precise." (Nick James, Sight & Sound) "Jim Jarmusch’s new movie is a quiet delight: the story of a gentle, artistic man and his wife which celebrates small-town life and dreams without patronising." (Peter Bradshaw, Guardian)

"Staying Vertical" (Alain Guiraudie): "Es ist ein intellektueller Bastard, ein verwirrender, herausfordernder 'queerer' Grenzgänger, der gleichermaßen an Bruno Dumont wie an Francois Ozon denken lässt." (Josef Lederle, Filmdienst) "Er bringt seine Fiuren zum Schweben." (Michael Kienzl, Critic.de) "Guiraudie’s touch is sensitive and tender, and makes these moments delicate and beautiful." (David Acacia, ICS) "The Guiraudie of 'Stranger by the Lake' — the cool humanist craftsman — is scarcely in evidence in 'Staying Vertical,' a film that defies common sense in a way that audiences will not take kindly to." (Owen Gleiberman, Variety) "Lightly surrealistic “meditation on” (sorry @sallitt) freedom and responsibility. Singular, windswept. [77]" (Mike D'Angelo, TimeOut) "" gorgeous, unruly beast of a film. Far too wild to take big Cannes2016 prizes." (Xan Brooks, Guardian) "Description made this sound sentimental, but it's a feverishly bizarre movie about men without women that I dug." (Alison Willmore, BuzzFeed) " It's a cryptic tale of erotic longing rich with possible meanings." (Eric Kohn, indieWIRE) "It’s very, very good." (Sophie Monks Kaufman, Little White Lies)

"Slack Bay" (Bruno Dumont): Die Kritiker-Legende Michel Ciment gab im Screen-Daily-Kritikerspiegel die Höchstwertung. Ansonsten gab es ein sehr gemischstes Feedback. Warum sollten meine neuen Lieblinge Dumont und Guiraudie plötzlich auch von einer Mehrheit der Kritikaster geschätzt werden.

"The Red Turtle" (Michael Dudok de Wit): "Quiet a little masterpice." (Eric Kohn, indieWIRE) "Splash meets Cannibal Holocaust meets the Book of Genesis. A marval of artisan craft, but not really my thing." (David Jenkins, TimeOut)

"Neruda" (Pablo Larraín): "So Pablo Larrain has twice slayed in Quinzane with NO and NERUDA, and won big at Berlin with THE CLUB in between. Why no Competition slot?" (Guy Lodge, Variety)

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★★

"Sieranevada" (Cristi Puiu): "Macht Lust auf die nächsten zehn Tage." (Thomas Schultze, Blickpunkt:Film) "Great start with puiu's SIERANEVADA: a rich & desperately funny film about wrong beliefs, anger and a dinner that never starts." (Dominik Kamalzadeh, Standard) "Sieranevada ist durchaus gut genug für eine verdiente Palme. Oder den Jurypreis." (Michael Sennhauser, SRF) "A very long wake as a Romanian family tries and fails to eat dinner. Brilliant and funny." (John Bleasdale, CineVue)