‘The Angels’ Share’ at the 2012 Cannes Film Festival by David Archibald

“…Predominantly comic in tone, the film was shot in 2011 and received its world premiere at the 2012 Cannes Film Festival. I attended the festival as part of a research project tracking the film’s journey from initial concept and screenplay through the production process and into exhibition, distribution, and reception.…”
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Cosmopolitan spaces of international film festivals: Cannes Film Festival and the French Riviera by Dorota Ostrowska

“…Since its inception, the Cannes Film Festival was envisioned as a continuation, expansion and enhancement of the Riviera’s long-established cosmopolitan, carnivalesque and exclusive space. …”
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The winner stands alone / by 220231 Coelho, Paulo, Costa, Margaret Jull

Subjects: “…Cannes film festival…”

Mr. Bean's holiday [videorecording] / Universal Pictures presents in association with StudioCanal, a Working Title production in association with Tiger Aspect Pictures by 182513 Atkinson, Rowan

Subjects: “…Cannes Film Festival…”

Special Aspects of the Cameramen’s Work at the “A” List Film Festivals by Alla Medvedieva, Oles Seredytskyi

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Specific Features of TV Journalist’s Work at the World Film Events by Iryna Gavran, Rosina Hutsal, Denys Kushnarov

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From “Makers of Images” to Cineastes? Looking Critically at Festivals and Critics’ Reception of Nollywood by Floribert Patrick C. Endong

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Koreeda Hirokazu: Pain and Fears of Modern Man by Katasonova E. L.

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Contemporary Cinema and the Logic of the Building The Case of Apichatpong Weerasethakul’s "Loong Boonmee raleuk chat" by Carlos Natálio

“…Using the symbolic date of 9/11 as an historical decisive moment, we take as an example of this cinema, Loong Boonmee raleuk chat, winner of 2010’s Palme D’Or at Cannes Film Festival. In analysing Apichatpong Weerasethakul’s film, we aim at proposing, as a metaphor, a different approach - a logic of the building - in order to describe the specific creative processes in contemporary cinema. …”
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Roy Andersson’s Cinematic Poetry and the Spectre of César Vallejo by Ursula Lindqvist

“… ABSTRACT: Sånger från andra våningen [Songs from the Second Floor] was Roy Andersson’s first feature film in 25 years when it won the Special Jury Prize at the Cannes Film Festival in 2000. It exemplifies the maturation of a distinctive filmmaking style Andersson developed in two and half decades of making shorts and advertising films and testifies to his decades-long engagement with Peruvian modernist César Vallejo’s poetry. …”
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What remains of cinema in TV series? by François Jost

“…Today, TV series lovers refuse such a similarity, and filmmakers, in turn, have a great distrust of TV series, as evidenced by the Film Selector of the Cannes Film Festival who, in 2018, said: “Series are industrial, films are poetry”.The present article aims to examine what remains of cinema in TV series, by answering the following questions: What is to watch a series on television? …”
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51st International Antalya Golden Orange Film Festival (2015) by Murat Akser

“…It is considered by many to be Turkey’s foremost film festival—a festive environment where film critics, directors, stars and spectators mingle in press conferences and parties, a spectacular event likened to Cannes Film Festival by those organising and attending it (Akser, “Antalya” 595). …”
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Existentialism in the films of Wong Kar Wai by Mak, Yu Ting

“…Having been nominated for several awards and winning two at the Cannes Film Festival, Wong Kar Wai is easily one of the most recognized Asian directors. …”
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The Phenomenology of Trauma. Sound and Haptic Sensuality in Son of Saul by Vincze Teréz

“…The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. …”
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Kamennyi tsvetok: a new invention of color in the cinema by Rehde, M.

“…The director took part in the first Cannes Film Festival (1946) with his first colour film, Stone Flower. …”
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Happiness is Not Fun: Godard, the 20th Century, and Badiou by Michael Walsh

“…These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” …”
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Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media by Zafer Parlak, Mehmet Işık

“…This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal.…”
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Kolonialismus aus der Sicht des linken Ufers: Négritude, nationale Kultur und humanistische Vision in Auch Statuen sterben von Alain Resnais und Chris Marker by Vrääth Öhner

“…Statues Also Die never received much attention, neither by the time of release nor afterwards: prohibited on the basis of »anti-colonial tendencies« after the first public screening at the Cannes Film Festival in 1953, the documentary hit the screens only in 1968 – at a time, when it seemed already outdated in form and content. …”
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Reflecting on hard and soft coups: a comparison of Aquarius by Kleber Mendonça Filho and Land in Anguish by Glauber Rocha by Carolin Overhoff Ferreira

“…The interest in analyzing both films stems from the polemical reception that Aquarius received after its director and cast used the international launch at the Cannes Film Festival in 2016 to protest publically against the impeachment of Brazilian president Dilma Rousseff, denounced by them as a soft coup. …”
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Thinking Through Translation with Theodoros Angelopoulos: Journeys, Border Crossings, Liminality by Adriana Şerban

“…In this paper, I propose to examine the question of journeys, borders, and translation in Theodoros Angelopoulos’ Trilogy of Borders: The Suspended Step of the Stork (1991), Ulysses’ Gaze (1995) and Eternity and a Day (1998), winner of the Palme d’Or at the Cannes Film Festival. It is my aim to contribute, in a small way, to the ongoing discussion about the role of translation in creating understanding, using as a case in point the work of a major contemporary poet of the screen who created his own aesthetics of the journey and whose films are vehicles of discovery, taking the viewer across many borders, on a fabulous – but often unsettling and perilous – voyage which challenges long-held assumptions about self, others, and translation. …”
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