I decided to switch from coffee to green tea recently. I don’t think I drink too much coffee, but sometimes you just want to check in with yourself and be comforted or alarmed by how much your body is used to certain things.
I like green tea, but I think the caffeine in it is just inadequate for the kind of feel-like-I’m-on-speed flurries of work I have to get through in the next four days before I fly out on Sunday. Now that I’m talking about it, I’m feeling even more like “mmm, a nice Americano would hit the spot”. I might go get a coffee right now.
Anyway. I’ve got to finalize and hand in a funding application to Telefilm before I go, and I’ve got to do some National Canadian Film Day wrap-up work (that went great, by the way, and I will tell you all about it in another blog post). And I need to buy a new pair of pants. Jeans, maybe? My old jeans just won’t do my ass justice on the Riviera.
Anyway, in addition to meetings and market screenings and what not, I do actually want to catch a few of the official screenings as well. In the actual Cannes festival I’d like to catch a couple of the Canadians (Egoyan, Cronenberg) and a couple of the Britishes (Loach, Leigh), but in all honesty I haven’t looked through the competition / out of competition / midnight / Un Certain Regard titles in detail yet. I have, however, checked out the sidebars. Here’s what I’m looking forward to.
In Directors’ Fortnight:
Cold in July, by Jim Mickle. Jim’s so good at what he does. Stake Land was amazing and We Are What We Are was gorgeous (plus, Bill Sage, am I right?), and how can I not be psyched about him doing Joe R. Lansdale?!
A Hard Day, by Kim Seoung-hun. I mean, it’s a Korean crime film. Automatic yes.
National Gallery, by Frederick Wiseman. Do I have the stamina for a three hour Wiseman? Time will tell.
These Final Hours, by Zak Hilditch. I can’t tell whether this film looks amazing, but I do like “last days on earth” scenarios and am intrigued.
Tu dors Nicole, by Stéphane Lafleur. This guy edited one of my favourite quiet Quebecois dramas of TIFF 2013 (Le Démantèlement) so I’m willing to take a gamble on his summer vacation movie.
In Critics Week:
It Follows, by David Robert Mitchell. This film seems like one of those interesting line-straddlers between arthouse and genre. Besides, any description that includes “plagued by strange visions” is my thing.
When Animals Dream, by Jonas Alexander Arnby. I think this film might be about a woman turning into a fox. What part of that doesn’t sound eight hundred precent up my alley?
What else should be on my list, y’all?