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Cannes 2013 Wrap: TOH's Complete Coverage of This Year's Fest

Thompson on Hollywood By Anne Thompson and Beth Hanna | Thompson on Hollywood May 29, 2013 at 1:30PM

The 66th Cannes Film Festival wrapped on Sunday, with a rousing win for Abdellatif Kechiche's epic lesbian romance "Blue Is the Warmest Color." Below, our complete coverage of the fest -- all reviews, interviews and festival diary entries, in case you missed anything as the coverage came in fast and furious from the Croisette.
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Adele Exarchopoulos and Lea Seydoux
Adele Exarchopoulos and Lea Seydoux

The 66th Cannes Film Festival wrapped on Sunday, with a rousing win for Abdellatif Kechiche's epic lesbian romance "Blue Is the Warmest Color." Below, our complete coverage of the fest -- all reviews, interviews and festival diary entries, in case you missed anything as the coverage came in fast and furious from the Croisette.

Reviews:

Cannes Winner "Blue Is the Warmest Color" Review Roundup: Epic, Explosively Sexy Lesbian Romance

The latter half of Cannes has brought a fest favorite to the fore. With a bold three-hour running time, French director Abdellatif Kechiche's "Blue Is the Warmest Color," starring Lea Seydoux and relative newcomer Adele Exarchopoulous, is receiving raves for its daring, intimate portrayal of a teen lesbian romance. And one more thing: the film contains "the most explosively graphic lesbian sex scenes in recent memory." 

Cannes Review and Roundup: James Gray's "The Immigrant" Is Unengaging But Cotillard, Photography Shine

But I’m afraid Gray has let Cotillard down, in that he hasn’t guided her performance in the way that, say, Olivier Dahan did in "La Vie En Rose," or even Jacques Audiard in "Rust And Bone." I never felt that I had a firm grip on who Eva was, and some of Gray’s creative decisions regarding where to swell the saccharine score and frame the close-ups almost felt like something you’d see on Funny Or Die, a spoof on how to manufacture an Oscar-winning performance. 

Cannes Review Roundup: Alexander Payne's "Nebraska" a Wistful but Slight Father-Son Road Trip Film

Alexander Payne's "Nebraska," starring Bruce Dern and Will Forte as a father and son embarking on a roadtrip, screened today at Cannes. The response is thus far mixed to positive, with praise for the film's wistful tone and a "career-crowning" performance from Dern. Those less impressed site the film's slightness, calling it "affably unexceptional" and that it provides "not much to talk about."

"Only God Forgives": Gosling No-Show at Press Conference, Review Roundup

As empty, soulless, frenziedly art-directed viewing experiences go, "Only God Forgives" is one of the better examples.

Review: Douglas and Damon Shine in Soderbergh's Funny, Poignant Melodrama "Behind the Candelabra"

If "Behind the Candelabra" is his final film, it's a winner, easily among the best of his 26 features including Cannes contenders "King of the Hill" (1993) and the six-hour, two part "Che" (2008) as well as "Erin Brockovich," "Out of Sight," the lucrative "Ocean's" franchise and "Traffic," for which he won the best director Oscar. 

Cannes Review: Coppola's "The Bling Ring"

Confession: going into "The Bling Ring," opening film for this year’s Un Certain Regard, I was hopeful that I’d find the Sofia Coppola of "Marie Antoinette" rather than the Sofia Coppola of "Somewhere" parked behind the camera. 

Cannes Review: James Franco's "As I Lay Directing"

Honestly, I root for James Franco, but he exhausts with his incessant need to produce every little thought into something for our consumption.  His recent art exhibition in Berlin included some fairly lame paintings he did in college of his high school yearbook photos; you know, things like sitting on the bleachers at a swim meet. Yes, of course that’s better than the guy who sits on his ass and never produces anything.  Although after Franco you begin to appreciate that lazy guy.

The director makes two choices right off the top: a split screen, and a pallet that lies somewhere between puke green and puke brown. 

Interviews, festival diary entries and deal reports on next page.

This article is related to: Festivals, Cannes Film Festival


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Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.