> Home          EXIT NOW !

58th Cannes International Film Festival



L'Enfant / The Child (Dardenne)

Broken Flowers (Jarmusch)
Hanna Laslo (Free Zone)
Tommy Lee Jones (The 3 Burials of Melquiades Estrada)
Shanghai Dreams (Wang Xiaoshuai)
Caché / Hidden (Haneke)
Guillermo Arriaga (The 3 Burials of Melquiades Estrada)

CAMERA D'OR (ex aequo)
The Forsaken Land (Jayasundara)
Me and You and Everyone We Know (July)

Wayfarers / Podorozhni (Strembitsky)
Clara (Sowervine)


The Death of Mr. Lazarescu (Puiu)
Prix de l'Intimité
Le Filmeur (Cavalier)
Prix de l'Espoir
Delwende / Lève-toi et marche (Yameogo)


Grand Prix
Me and you and everyone we know (July)
Prix SACD (ex aequo)
A stranger of mine (Kenji)
Little Jerusalem (Albou)
Grain in Ear (Zhang Lu)
Grand Prix Canal + du Meilleur court métrage
Jona/Tomberry (Rosto)


Prix Art et Essai - CICAE
Sisters in law (Longinotto/Ayisi)
Label Europa cinémas
La Moustache (Carrère)
Prix Regards Jeunes
Alice (Martins)
Mention spéciale des Cinémas de Recherche
Odete (Rodrigues)
Prix du court-métrage de la SACD
Du soleil en hiver (Collardey)
Prix Gras Savoye du court-métrage
A bras le corps (Quillévéré)


Caché / Hidden (Haneke) Competition
Sangre (Escalante) Certain Regard
Crying fist (Ryoo) Semaine de la Critique


Caché / Hidden (Haneke)
Mention spéciale
Delwende / Lève-toi et marche (Yameogo)

Lauréats de la CINEFONDATION

  1. Buy it now (Campos)
  2. (ex aequo)
    Vdvoyom (à deux) (Khomeriki)
    Bikur holim (Dreifuss)
  3. (ex aequo)
    La Plaine (Edzard)
    Be Quiet (Zoabi)

Prix François Chalais
Once You're Born You Can No Longer Hide (Giordana)
Prix de l'Education nationale
Cinéma, aspirines et vautours (Gomez)
Prix de la jeunesse
Bahia, ville basse (Machado)

Carosse d'Or de la Société des réalisateurs de films
Ousmane Sembene

Prix France-Culture
Catégorie des cinéastes français
Avanim (Nadjari)
Catégorie des cinéastes étrangers
Damnation (Tarr)



A History of Violence (Cronenberg/CAN)
Bashing (Kobayashi/JP)
Batalla en el cielo (Reygadas/MEX)
Broken flowers (Jarmusch/USA)
Caché / Hidden (Haneke/FR)
Don't Come Knockin' (Wenders/GER/FR/USA)
Election (To/HK)
L'Enfant (Dardenne/FR/BEL)
Free Zone (Gitai/USA/ISR)
Kilomètre zéro (Saleem/IR)
Last Days (Van Sant/USA)
Lemming (Moll/FR)
Manderlay (Von Trier/DEN)
Peindre ou faire l'amour? (Larrieu/FR)
Quando sei nato non puoi più nasconderti (Giordana/I/FR/UK)
Shanghai dreams (Wang/CH)
Sin City (Rodriguez/Miller/USA)
Tale of cinema (Hong/KOR)
The Three Burials of Melquiades Estrada (Jones/USA/FR)
Three Times / The Best of Our Times (Hou/TAIW)
Where The Truth Lies (Egoyan/CAN/UK/USA)


Moartea domnului Lazarescu (Puiu/ROM)
Delwende / Lève-toi et marche (Yameogo/BURK)
Le Temps qui reste (Ozon/FR)
Down in the valley (Jacobson/USA)
Sangre (Escalante/MEX)
Le Filmeur (Cavalier/FR)
Voksne mennesker / Dark horse (Kari/DEN)
Yek shab / One Night (Karimi/IRAN)
Yellow fella (Sen/OZ)
Habana blues (Zambrano/CUB)
Cidade baixa (Machado/BRA)
Jewboy (Kravitz/OZ)
The King (Marsh/USA)
Cinema, aspirinas e urubus (Gomez/BRA)
Falscher Bekenner / Low Profile (Hochhaüsler/GER)
Sulanga enu pinisa / The Forsaken Land (Jayasundara/FR/SRI)
Schläfer / Spleeper (Heisenberg/Austria)
Marock (Laïla Marrakchi/Marocco/FR)
Nord Este (Juan Solanas/France/ARG)
Eli, Eli, Lema Sabachtani (Shinji/JP)
Johanna (Mundruczo/HUN)
Hwal / The Bow (Kim/KOR)
Zim and co. (La Caisse) (Jolivet/FR)


The Great ecstasy of Robert Carmichael (Thomas Clay/UK)
Mang zhong / Grain in ear
(Zhang Lu/China/Korea)
Me and you and everyone we know
(Miranda July/USA)
L' Orizzonte degli eventi (Daniele Vicari/Italy)
Orlando Vargas (Juan Pittaluga/Uruguay/France)
La Petite Jérusalem / Little Jerusalem (Karin Albou/France)
A stranger of mine (Uchida Kenji/Japan)

short films

Jona/Tomberry (Rosto)
Respire (Wi Ding-ho)


Alice (MARTINS Marco/POR)
Be With Me
Cache cache (Caumon/FR)
Camus nante shiranai / Who’s Camus Anyway ? (Yanagimachi/Japan)
Crying Fist / Ju-Meok-I-Woon-Da (Ryoo/KOR)
Douches froides (Cordier/FR)
Factotum (Hamer/GER/USA/NW)
Geminis (Carri/ARG/FR)
Geuddae geusaramdeul / The President’s Last Bang (Im/KOR)
Guernsey (Leopold/ND)
Jazireh Ahani / Iron Island (RASOULOF/IRAN)
Keane (Kerrigan/USA)
La Moustache (Carrère/FR)
Odete (Rodrigues/POR)
Room (Henry/USA)
Seven Invisible Men (Bartas/POR/FR/LIT)
Sisters In Law (Longinotto/Ayisi/UK)
Travaux, on sait quand ça commence... (Roüan/FR)
Umoregi / The Buried Forest (Oguri/JP)
Wolf Creek (McLean/OZ)


Les Artistes du théâtre brûlé (Panh/CAMB)
C'est pas tout à fait la vie dont j'avais rêvé (Piccoli/FR)
Crossing the bridge (Akin/GER)
Chromophobia (Fiennes/UK)
Dal kom han in-saeng / A bittersweet life (Kim Ji-woon/KOR)
The Doll Is Mine / Cindy (Bonello/FR)
Joyeux Noël (Carion/multi)
Kiss kiss bang bang (Black/USA)
Match Point (Allen/USA/UK)
Midnight movies : from the margin to the mainstream (Samuels/USA)
Nekam achat mishtey eynay / Pour un seul de mes deux yeux (Mograbi/ISR)
Operetta tanukigoten / Princess raccoon (Suzuki/JP)
The Power of Nightmares: The Rise of the Politics of Fear (Curtis/UK)
Star Wars: Episode III - Revenge of the Sith (Lucas/USA)




58th CANNES International Film Festival 11 - 22 may 2005


Last Days (2005/Gus Van Sant/USA) ++

Opening Sequence: Blake crossed the woods to a river. No music, direct sound, loud waterfall sound. Plan sequence shot from across the river, we see him undress. He walks into the water to a waterfall he tries to reach. Then walks out on the rocks, unsteady, stunned, near the camera. He crouches on a rock and looks up to the waterfall. He stands up (the frame cuts him to the waist, back to us), and pees in the water.
Cut to tracking shot of Blake walking across the woods.

This hypothetical fiction is based on the 2 days before, grunge icon Kurt Cobain, escaped from a rehab center, commits suicide. A voyeur camera follows the silent footsteps of Blake (who is not Kurt Cobain), out of the woods and around his ill-kept castle, symbol of a dilapidated empire, the precarious house of cards of pop famedom.
Collage of simultaneous realities, delirium and fantasies are confounded along an anachronistic line of events, Blake collapses on his own, constantly mumbling to himself, rote obsessed, incapable to connect with the outside world. This shadow of a man, tortured by an existential crisis, washed up by drugs, wanders around people who used to be his friends. Scott (who is not Dave Grohl), Luke (who is not Krist Novoselic) live a depraved life, with Asia, sex and drug, ignoring the whereabouts of the wornout autistic master they continue to revere. Nicole (who is not Courtney Love), urges him to wake up for their daughter. They deliver him uninterrupted monologues, like a complaining voice in his sick head, neglecting the painful mutism of a desperate suffering. Ironically the only person engaging with him will be a Yellow Pages salesman in a most cynical scene, right after he hung up the phone on his tour manager without a word.
Still haunted by Alan Clarke's short film Elephant, that inspired his eponymous Golden Palm winner, Gus Van Sant repeats the same narrative gimmick of simultaneous plan sequences, edited in flashbacks. Driven by a morbid fascination of the ineluctable imminence of a violent suicide, this dispassionate journey with a "dead-man walking" confronts us with the termination of life, obnoxiously unexplainable, fatalistic, hopeless, unbearable. Although refusing to instill any thesis, this complacent aesthetism, indolent contemplation of decadence, fails to give substance to what comes down to a pure stylistic exercice encumbered by inappropriate religious choir music and bells... The shotgun suicide being entirely occulted, while an oversignificant ghost soul climbs to heaven in the most naive allegory. Lacking context and insights, this arbitrary excerpt of a man's life at the bottom of depression, fails to justify this undignified intrusion in a shameful privacy, as if filming begging zombies in a rehab center was an artful anti-drug campaign.

C:++ W:+ M:+++ I:++ C:+++

Three Times (2005/Hou Hsiao-hsien/Taiwan) ++++

A study of love at its most impalpable expression. A blooming sentiment decomposed into a triptych of aspects in the loving couple re-enacted at 3 key epochs of the history of Taiwan, and corresponding at 3 artistic periods of Hou Hsiao-hsien's filmography, like spare cut scenes from his previous films. The same lead duo in each segment draws a symbolic connection through history, playing with the illusion of cinema. The generations evolve, the set changes but Love is eternal, always repeating itself under the same conditions. Mutic courtship, unconscious gestures, embarassed moments, uncomfortable silences, body language, contemplation and adoration, a communication of feelings at a direct impression beyond words and comprehension. This reunion of social generations invites to compare the attitude and etiquette attached to a certain political regime.

-1966 : A Time for Love (refering to The Boys From Fengkuei/1983) Chinese rule.
The boy is a military serviceman, the girl is an hostess working in a snooker bar. The atmosphere is light and playful, bathed in a shy indecision, unrushed at the pace of the countryside. From courteous letters to an investigative track across the region, after the trace of the loved one only met once. A very pudic love, respectful of the family and the intimacy.

-1911 : A Time for Freedom (refering to Flowers of Shanghai/1998) Japanese rule.
A silent film in color with intertitles, and a langorous score. Set in a rich urban brothel, involving wealthy families with prostitution, love has a price conditionned by business arrangements, and a woman must buy her dignity back in order to get married. This echoes the political backdrop of this Island, introducing in the dialogue a reference to the anti-japanese occupation activism. Apparent platonic love desiring aesthetism and ceremony, where music is the accepted orgasm. The claustrophobic set contains the organised intrigues.

-2005 : A Time for Youth (refering to Millenium Mambo/2001) Independance.
A girl suffering from epilepsia, lusts for both a man and a girl. Love is wild, carefree, a dizzy feeling to be satisfied immediately. Mostly outdoors on the road, or in the crowd of a night club, the couple is suffocated by an ephervescent city. Technology in the form of a mobile phones, computers, neons, photos and music substitute and delay an impersonal expression of a distanced feeling. This remnant of communication alienate individuals in their solitude, while sex is offered to fill the vaccum.

C:++ W:+++ M:++++ I:+++ C:++++

Lemming (2005/Dominik Moll/France) ++

Opening Sequence: Meeting with the clients in a home automation company, Alain Getty presents his latest invention, a flying surveillance webcam. Behind the window of the control room we can see a dummy house to experiment the webcam. Warned by his cell phone, Alain operates the webcam from his laptop, to move it the bathroom to check the leak before turning off the main water supply.
Everybody is quiet, and smile complacently. Only Alain speaks to explain his project step by step. They are in a darker room and the dummy house is brightly lite.
This opening sequence is highly symbolic for the film to come where the couple of Alain Getty will be observed carefuly as it decomposes, like placed under scientific scrutiny. The same way this model house is cut open to observe the interior.
The catalysist event will be a lemming found stuck in their kitchen sink. The plumbing incident stands for the glitch in the system, like if a grain of sand had broken the natural flow of communication between Alain and his young wife.

C:++ W:+ M:+++ I:+ C:++

Keuk Jang Jeon / Tale of Cinema (2005/Hong Sang-soo/Korea) +++
C:++ W:+ M:+++ I:+ C:++

Batalla En El Cielo / Battle in Heaven (2005/Carlos Reyagas/Mexico) +++
C:++ W:+ M:+++ I:+ C:++

Once You're Born You Can No Longer Hide / Quando sei nato non puoi più nasconderti (2005/Marco Tullio Giordana/Italy) ++
C:+++ W:+ M:++ I:+ C:++



Nord Este (Juan Solanas/France/Argentina) +
C:++ W:+ M:++ I:++ C:+++

Hwal / The Bow (Kim Ki-duk/South Korea) +++
C:++ W:++ M:+++ I:+++ C:+++

Johanna (Kornel Mundruczo) +++
C:++ W:+ M:+++ I:+ C:++

Eli, Eli, Lema Sabachtani (Aoyama Shinji/Japan) +
C:+ W:0 M:0 I:+ C:++

Le Temps qui reste (Ozon/FR) ++
C:+++ W:++ M:+++ I:++ C:+++

Moartea domnului Lazarescu (Puiu/ROM) +++
C:+++ W:++++ M:++ I:++ C:+++

Sulanga enu pinisa / The Forsaken Land (Jayasundara/FR/SRI) +++
Une sorte de Tropical Malady mais "light".
Une méditation sur l'abandon ou plus précisement l'exclusion des hommes confronté à un désert geographique et emotionel. La loi martial est oppressive, implacable, humiliante mais pratiquement invisible et impersonelle dans cette campagne perdue au bout du monde. Un film taciturne, contemplatif, s'exprimant par de long plan séquences au plus près de la vie quotidienne de cette famille isolée, dans un denuement extreme, en proie au vertige existentiel. La mort est omniprésente, comme un couperet fataliste. Filmés de nuit aussi bien que de jour, une enfant, un garde national, sa femme et sa sœur, un grand père, tous unis sous un même toit, subissent le poids et les devoirs de leur condition sociale. La poésie indigène de cette culture insuffle ça et là un regard original sur une réalité cependant assez facile à appréhender pour nous. Les questions aborde la pression sociale du marriage, le devenir de la famille dans le besoin, l'adultère et la culpabilité, le rapport de force entre l'individu et le système. Un ton naturaliste entre Apichatpong Weerasethakul et Satyajit Ray.
La maitrise de l'image et du rythme du récit est admirable pour un premier film venu d'un pays peu familier avec le cinéma.
Un des plus beau films que j'ai vu de la selection 2005 jusqu'a maintenant.
Vu qu'il est produit en France, j'espère qu'il obtiendra une distribution bientôt. Une Caméra d'Or bien méritée.
C:+++ W:+++ M:+++ I:+++ C:+++




Me and you and everyone we know (Miranda July/USA) +++
Christine Jesperson (sublime Miranda July!), young artist experimenting the mystery of love in her video art occasionally helps for a living elders who feel too old to drive. Her life obsessed every step of the way with superstitious rituals struggles through major worries and minor accomplishments to get her work accepted at the gallery and her romance fullfilled. Richard (John Hawkes) learns awkwardly to be a single father of two inhibited sons, going about a new life in suburbia.
A charming ensemble of characters forms a complex mechanic which every little move influences the life of another person.
Mostly breaking the arbitrary frontiers between generations, this creative script essentially depicts a global self-concerned universe populated of hesistant adulescents, either racing naively into adulthood attracted by a fantasized sexuality or resistant to aging with puerile manners frustrated by insecurities. Children and elders equaly clueless before this identity crisis prompted by a very human desir to belong, be recognized and loved.
A feeling of lonely crowd, drifting on tangent trajectories, beautifuly symbolized in the "stranded goldfish" scene, where strangers drive their own private bubble on the highway, like a furtive funeral procession of aquariums on wheels. And Michael, who assists his dying wife, says "We are all together in this". A momentary laps of anonymous compassion in a world of indifference.
These lyrical metaphors seeded throughout trivial situations re-enacts relationship conflicts, more or less consciously, with shoes, photos, furnitures, kitchen appliances, video tapes, phone, computer graphics or a segment of pavement. Ironically, familiar objects personify best what people are unable to express. Our materialistic society has invested so much affectivity into properties that any missuse is perceived as a agression towards us. Would you imagine a shoe salesman providing therapy support to his clients? "You think you deserve that pain but you don't" is what Richard tells Christine who tortures herself walking in bad shoes.
Between the cynism of Terry Zwigoff's Ghost World (2000) and the poetry of Eric Mendelsohn's Judy Berlin (1999), this debut indie film is a beauty, a masterstroke, incarnation of the ravishing personality of multimedia artist Miranda July, on par with a quirky romantic contemplation like Punch Drunk Love (2002). The bunch of kids are directed with a careful instinct and give outstanding performances and stealing the show.
Cannes 2005: Camera d'Or. International Critic's Week Grand Prix. Le Regard de Jeanne Prize. The very young critics Award.
Sundance 2005: Special Jury Prize for Originality of vision.
C:++ W:+++ M:+++ I:++++ C:++

La Petite Jérusalem / Little Jerusalem (Karin Albou/France) +
C:++ W:+ M:+ I:+ C:+

A stranger of mine (Uchida Kenji/Japan) ++
C:0 W:+++ M:++ I:++ C:++

Orlando Vargas (Juan Pittaluga/Uruguay/France) ++
C:++ W:+ M:+++ I:+ C:++


Jona/Tomberry (Rosto/ND) +++
Respire (Wi Ding-ho/Taiwan) ++
Grand Vent (Valérie Liénardy/Belgium) +



Odete (2005/João Pedro RODRIGUES/Portugal) ++
C:++ W:++ M:++ I:+ C:+

Douches froides (2005/CORDIER Antony/France) ++
C:+ W:+ M:+ I:0 C:0

Umoregi / The Buried Forest (2005/Kôhei Oguri/Japan) ++
C:++ W:+ M:+++ I:+ C:++

Alternative Short Films at the Director's Fortnight

Instructions for a Light and Sound Machine (2005/Peter Tscherkassky/Austria) +++ 17' B&W
A spaghetti western found footage processed in the Tscherkassky shredder machine. A cowboy caught in a typical duel scene is tortured on the editing table, meeting with his creator, backstage, after a death on the gallow. Like in Dream Work, the protagonist lives a paranoid tragedy when the film plays around with reality. The actor feels prisonner of a Deus Ex-Machina, and rebels against the system. Fantastic soundtrack beating to death the cinematic figure in an ever changing medium. C:+ W:+ M:+++ I:+++ C:++++

Résfilm / Slitfilm (2005/Sandror Kardos/Hungaria) +++ 12'
A japanese filmmaker reads a Strindberg book on dramaturgy, and let his memory melt in. Pondering about the ultimate Kabuki theatre performance and how a woman who lost her child affected an invariable smile on her face while boiling inside. The form of the film is very peculiar, like a cubist approach to cinema. Time is frozen, lateral pan over an uninterrupted strip of photograph. The photo seems to be shot all around the scene at once, laying on film the back of the head and the face at once like on an unrolled cylinder (slit camera). Insightful narrator voiceover collided with this abstracted rendition of reality. C:+++ W:+++ M:++ I:+++ C:+++

Consultation Room / Shinsatsu-shitsu (2005/Oyama Kei/Japan) ++ 9' anim
A man waiting at the doctor's consultation room, is overtaken by haunting memories, nightmares and fantasy dealing with physical pain, infection, blood fever. This primal fear of a dysfunction of our obscur body system generates delirium and anxiety. We feel observed, our diminished health is mocked by an oppressing surrounding. Entirely animated with faded strokes of pastel colors and photocopied paper textures, this silent atmosphere populated by noises rather than words, reminds the experiments of David Lynch. C:++ W:++ M:++ I:+++ C:+++

Trilogy about Clouds / Mittsu no Kumo (2005/Naoyuki Tsuji/Japan) ++ 13'
Charcoal cartoon drawings of simple characters in an open space environment victim of a cloud invader. On the same white page, each frame is shot after the lines have been erased and drawn over, leaving a trace of the previous frames, like a ghost motion. The motion creating a grey area on the paper. C:+ W:+ M:++ I:+++ C:++

From the window of my room / Da Janela Do Meu Quarto (2005/Cao Guimarães/Brazil) ++ 5'
Silent slow motion of a scene from the street, two children play in the sand under the rain, pushing and pulling, running and tripping. Shot from a fixed point, high angle, overlooking on them in the distance, without the sound of their game, tracking tightly their every move. A position of voyeur, projecting sympathy onto a meaningless slice of life, capturing a genuine activity unaware of being observed, at the antipode of cinema. C:+ W:+ M:+++ I:++ C:+++

Cosmetic Emergency (2005/Martha Colburn/ND/USA) + 9' anim
Stop motion animation using old fashion magazine pictures and photos from the Gulf War, masked by stacked layers of oil paint, either shown forward or backward, creating this impression of accelerated aging, or faces skinned off. A cynical commentary rhythms the frenetic freak show succession, to denounces the over-consumption society, the cult of beauty, the miracle of plastic surgery, and the decay of human body. C:++ W:++ M:+ I:++ C:++



Short Film

Cindy: The Doll Is Mine (Bertrand Bonello/France) ++ 15'
Homage to art photographer Cindy Sherman
C:++ W:+ M:+++ I:+ C:++