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MAY 21, 2012
BREAKING
N EWS
Stewart
Debuts K-11
By Stuart Kemp
FILMMAKER JULES
Stewart is in Cannes to
support the market debut
of her directorial debut K-11.
So far so normal except that
Stewart’s godfather Micky
Moore was Cecil B Demille’s
�rst AD, she has spent more
than 30 years in Hollywood as
a script supervisor and editor
with a resume boasting movies
including Little Giants, The
Phantom and The Flintstones:
Viva Las Vegas, and her debut
“introduces” her son Cameron
as an actor.
That and her daughter also
happens to be Twilight star
Kristen Stewart, who is due
in Cannes later this week to
support Walter Salles’ On The
CONTINUED ON PAGE 10
McAlpine Returns
To Producing
By Stuart Kemp
SEASONED VETERAN
Hamish McAlpine, one
of the movie industry’s
most �amboyant characters,
is back four years a�er he
personally lost £5 million
($8 million) when his
vertically-integrated company
Metro Tartan went into
administration.
A familiar face on the
international scene for more
than 20 years, McAlpine
CONTINUED ON PAGE 10
S C R I P T T O S C REEN
South Africa, Ireland Sign
Co-Production Treaty
Kidman Drama to Be
Co-Produced by Foreign Firms
ALMOST AS IF FESTIVAL
director Thierry Fremaux
had coyly scheduled
some of the weaker Competition
entries at the beginning so the
festival could been seen to gradually
improve as the days wore on,
the 65th Cannes Film Festival
began getting serious over the
weekend with weighty entries by
the venerable likes of Haneke
and Mungiu, with Kiarostami
and Resnais hot on their heels.
For some, the festival really
got started with Cristian
Mungiu’s aetheistic acid bath
administered to the devoutly
religious, Beyond the Hills. For
me, however, things �nally
kicked into gear with Michael
yet supremely elegant examination
of the �nal stages of life,
unerringly acted by French
greats Jean-Louis Trintignant
and Emmanuelle Riva.
Actually, the festival began
quite reasonably, if not with
home runs, at least with doubles
in the form of Wes Anderson’s
light yet aesthetically rigorous
Moonrise Kingdom, which opens
shortly in the United States.
Even more of the moment was
Jacques Audiard’s surprisingly
conventional but resourcefully
made and very well acted Rust
and Bone, which opened in
France day-and-date with the
festival showing.
But then came two bummers,
1
Video Diary With
Jean Paul Gaultier
SEE THR.COM/CANNES
FOR FULL STORIES
CANNES
№6
ABOUT TOWN
Isabelle Huppert braves the heavy
rain as she scales the Palais steps
for the Competition screening of
Michael Haneke’s Amour.
Cannes Slowly Improves During Week
After a tepid start, Competition lineup is showing signs of life By Todd McCarthy
Battle, a didactic, undigested
and even unappealingly acted
examinantion of aspects of
last year’s Egyptian political
uprising, and Matteo Garrone’s
misguided and ho-hum Reality,
a serio-comedy about a reality
TV show wannabe that severely
disappointed in its conventionality
a�er the Italian director’s
sizzling prior feature, Gomorrah.
Ulrich Seidl’s rigorously
conceived and visually impeccable
Paradise: Love is an
undeniably provocative look at
large-format Austrian ladies of
a certain age partaking in young
black �esh at beach resorts in
Kenya. But what it means to say
about mutual exploitation is
Haneke’s Love, an un�inching Yousry Nasrallah’s A�er the
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