Well, the title says it all. The Palme d’Or lineup has gathered a lot of media attention, but one of the joy in Cannes is that they have varied choices beyond that, many of them take us by surprise and gain more traction as the year goes. This year is no exception as there are plenty titles worth raving about. With this list, let’s see some alternatives from the big titles that rarely get cover anywhere else, from wide range of medium, genres from all over the world.
note: there are 2 films that were originally on my watchlist but I couldn’t find the time to watch. Sight-unseen mention to The Lighthouse (Director’s Fortnight) and the animated feature The Bears’ Famous Invasion of Sicily (Un Certain Regard)
All things considered, 2019 offers another strong lineup that very well in conversation for the whole year. Only 3 films make it to my “Silver Moon in Full Bloom” status, but this is a year stack full of worthy films that all bring something interesting to the table. If you look closely into this year’s lineup, you can draw some major underlying, themes that lead the discussion. First, SOCIAL SATIRE becomes as relevant as ever, outlined by Parasite winning Palme d’Or that touch on the class inequality in a twisted and smart way. The Dead Don’t Die opens the Festival with its dry satire on the world that has gone mad, not unlike the real world. Bacurau and It Must Be Heaven fall into this spectrum as well with their fresh (and funny) take on social identities. Second, POLICE THRILLER roars like a lion this year, with many films, especially French titles Les Miserables, Oh Mercy, using this format to suggest the ongoing tension between the law and the suppressed citizen. Neo-noir police genre also is on the rise with The Whistlers and The Wild Goose Lake. Third, this is a year where movies about filmmaking, film-within-a-film gain some attraction with the likes of Once upon a Time in Hollywood, Sibyl, Pain & Glory and Frankie. This year also offer wide range of other subject matters, from friendship (Matthias & Maxime), to benefits (The Wild Goose Lake) to friends with benefit (Mektoub Intermezzo). Amongst serious social issues, class conflict (Parasite, Bacurau, Sorry We Missed You, Atlantique), Muslim crisis (The Young Ahmed, Les Miserables) and personal crisis (Pain & Glory, A Hidden alife, Frankie) and queer romance (Portrait of a Lady on Fire, Matthias & Maxime) are hot topics.
Fresh and hot out of the bake, Cannes just announced the Official Selection for this year’s edition. I won’t lie when I say that I’ve been anticipating this day for weeks now, and I’m about 75% happy with the lineup. There are household names, there are more Women’s titles, just as Thierry Fremaux promises, but whether they’re justified themselves to be there or not, is entirely different matter (which I will discuss it later). This gonna be Silver Moon’s first current Preview for Cannes, where I list all the films in the Main Competition, along with my own expectation. Let’s briefly run each of them down
Yeah, I freaking got it. I got the accreditation to attend Cannes Film Festival this May. Cannes has always been my favorite spot, as many film lovers do, and this is a good way for me to start my Cannes project here anyways. What does it mean then? Expect live coverage here in May where I try my utmost to check out and (hopefully) review all the Cannes Main Competition titles, and then some.
As for this site in the long run, I’m in the middle of 2010s anime catch-up right now and still don’t feel that enthusiastic to blog, but I never intend to throw this site altogether. It’s still my intention to keep it, and will probably come back to full writing and more projects once I’m game for it.
Now we get to the second part of this 2018 Anime Summary. This can be seen as individual awards, where I will pick the Best, and the Worst, as well as Runner-Ups. It will divide as Individual awards, Production Awards and Character Awards. Get on board for a tour around the town now, shall we?