Attendance was down by 30 percent at this year’s Cannes Film Festival. Not surprising, considering the recession still biting and Euro exchange rates keeping prices along the Croisette at ridiculously expensive levels. Yet the number of high-profile genre films in the Official Competition was a bonus for those more used to finding the most controversial entries up for distributor grabs in the Market section. While Park Chan-wook’s Thirst and Gaspar Noe’s Enter The Void certainly had their followers, with Terry Gilliam’s out-of-competition The Imaginarium Of Doctor Parnassus a similar hot ticket, the two biggest stories were Quentin Tarantino’s Inglourious Basterds and Lars Von Trier’s Antichrist.
Cinema saves the world in Tarantino’s disjointed, history-bending homage to war movies, which takes its misspelled name—but very little else—from Enzo Castellari’s 1978 Italian cult exploiter. Divided into chapters, each highlighting a movie style like Sergio Leone spaghetti Westerns,...
Cinema saves the world in Tarantino’s disjointed, history-bending homage to war movies, which takes its misspelled name—but very little else—from Enzo Castellari’s 1978 Italian cult exploiter. Divided into chapters, each highlighting a movie style like Sergio Leone spaghetti Westerns,...
- 5/29/2009
- by no-reply@fangoria.com (Alan Jones)
- Fangoria
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