Films` ideas in the competition for Cannes Film Festival

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A few names made the buzz on the Croisette at Cannes Film Festival. Everyone came with a mix of ideas and stirs, many created emotions and artistic vibes. Let`s have a quick eye on the a few ideas about the projects!

CAPTIVES

8 years after the dissapearance of Cassandra, a few troubling indices show that she is still alive. The police, the parents, Cassandra herself try to clarify the mystery of the dissapearing. 

Interview with Atom Egoyan, Director

`Captives` is a thriller?

Absolutely, because it is a young girl who was kidnapped and, eight years later, will succeed in organizing her own escape . Her name is Cassandra , in reference to Greek mythology, in which Cassandra is often shown in riddles , but is also able to read the future . In the film, Cass provides Matthew , her father , an index in the form an enigma that only he can decipher. Thus it sets up the possibility of finally escape her captor .

The title is plural. Besides the character of Cass , what other " Captives " the title is referring to?

Tina 's mother, Cass, is his captive chagrin.Depuis the disappearance of her daughter , she broke up with her ​​husband. She visits Nicole , the interviewer every year as a ritual in hopes of finding her daughter. Nicole herself, as we discover in the film, is captive to the past , which also explains why it is so much invested in it. The title gives a more concrete sense of the film .. . men , meanwhile, are just as captives, prisoners of their past. The father, Matthew can not forgive herself this tragic moment of inattention and travels the roads constantly , convinced that only he can find his daughter . Jeffrey, the inspector is also a prisoner of the past which probably explains why he has as much a priori that he believes guilty. In " Captives " men make bad choices at one time or another. This film also shows the weakness of men and women's strength .

FOXCATCHER

Based on a true story, FOXCATCHER tell the fascinating story of the unlikely relationship between an eccentric billionaire and two wrestling champions .Lorsque the Olympic gold medalist Mark Schultz ( Channing Tatum) is invited by the wealthy heir of Johndu Pont (Steve Carell ) to move into its magnificent homestead to help implement a high-end training camp in view of the Seoul Olympics of 1988, Schultz jumped at the chance : he hopes to focus all his attention on his driving and no longer suffer from being constantly overshadowed by his brother , Dave ( Mark Ruffalo ) . Obsessed with obscure needs, Bridge intends to use its support for Schultz and his opportunity to " coach " wrestlers worldwide reputation for the respect of his peers and especially his mother who judges him very hard (Vanessa Redgrave ) .

Producer and director cited in Oscar BENNETT MILLER is best known through STRATÈGE and TRUMAN CAPOTE. THE STRATEGIST (2011) tells the story of Team Baseball Oakland Athletics in 2002 and his manager Billy Beane . The film was critically acclaimed and received six Oscar nominations , four Golden Globe , two Screen Actors Guild Award, and other citations AFI , BAFTA , PGA and WGA . Miller was nominated for an Oscar for best director for Truman Capote (2005 ), with Philip Seymour Hoffman in the title role which earned him an Oscar for best actor. The film discusses the research conducted by the author for his thriller well documented , " In Cold Blood ." For Capote , Miller also won a nomination for David Lean Award ( BAFTA prices ) for the implementation , and another at the Directors Guild of America Award, always achieving .

LEVIATHAN

When a man feels the tight grip of anxiety in the face of need and uncertainty, when he gets overwhelmed with hazy images of the future, scared for his loved ones, and fearful of death on the prowl, what can he do except give up his freedom and free will, and hand these treasures over willingly to a trustworthy person in exchange for deceptive guarantees of security, social protection, or even of an illusory community?Thomas Hobbes' outlook on the state is that of a philosopher on man's deal with the devil: he sees it as a monster created by man to prevent "the war of all against all", and by the understandable will to achieve security in exchange for freedom, man's sole true possession.Just like we are all, from birth, marked by the original sin, we are all born in a "state". The spiritual power of the state over man knows no limit. The arduous alliance between man and the state has been a theme of life in Russia for quite a long time. But if my film is rooted in the Russian land, it is only because I feel no kinship, no genetic link with anything else. Yet I am deeply convinced that, whatever society each and everyone of us lives in, from the most developed to the most archaic, we will all be faced one day with the following alternative: either live as a slave or live as a free man. And if we naively think that there must be a kind of state power that can free us from that choice, we are seriously mistaken. In the life of every man, there comes a time when one is faced with the system, with the "world", and must stand up for his sense of justice, his sense of God on Earth. It is still possible today to ask these questions to the audience and to find a tragic hero in our land, a "son of God", a character who has been tragic from time immemorial, and this is precisely the reason why my homeland isn't lost yet to me, or to those who have made this film. (Andrey Zvyagintsev)

MOMMY

Since my first film, I've talked a lot about love. I've talked about teenagehood, sequestration and transsexualism. I've talked about Jackson Pollock and the 90s, about alienation and homophobia. Boarding schools and the very French-Canadian word "special", milking the cows, Stendhal's crystallization and the Stockholm syndrome. I've talked some pretty salty slang and I've talked dirty too. I've talked in English, every once in a while, and I've talked through my hat one too many times. Cause that's the thing when you "talk" about things, I guess, is that there is always this almost unavoidable risk of talking shit. Which is why I always decided to stick to what I knew, or what was - more or less - close to my skin. Subjects I thought I thoroughly or sufficiently knew because I knew my own difference or the suburb I was brought up in. Or because I knew how vast my fear of others was, and still is. Because I knew the lies we tell ourselves when we live in secret, or the useless love we stubbornly give to time thieves. These are things I've come close enough to actually want to talk about them. But should there be one, just one subject I'd know more than any other, one that would unconditionally inspire me, and that I love above all, it certainly would be my mother. And when I say my mother, I think I mean THE mother at large, the figure she represents. Because it's her I always come back to. It's her I want to see winning the battle, her I want to invent problems to so she can have the credit of solving them all, her through whom I ask myself questions, her I want to hear shout out loud when we didn't say a thing. It's her I want to be right when we were wrong, it's her, no matter what, who'll have the last word. Back in the days of I Killed My Mother, I felt like I wanted to punish my mom. Only five years have passed ever since, and I believe that, through Mommy, I'm now seeking her revenge. Don't ask. - Xavier Dolan, May 2014 

 

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