Apart from the bittersweet, mixed-emotions debut of the One-Eyed Jacks restoration, Cannes Classics will also present the following next month:
Bertrand Tavernier‘s Voyage a travers le cinema français (2016, 195 mins., France). Likelihood of HE attendance: Zero. Who better to deliver “an act of gratitude” for the blessings of French cinema from the 1930s to the present than Tavernier, who’s been around since forever and knows everything and everyone? But I’m not devoting over three hours to this during an already demanding, time-crunched schedule. How about an early-bird screening in Paris, Bertrand? I’ll be there from 5.6 through 5.10.
Cinema Masterclass on William Friedkin: The director of The French Connection, The Exorcist, Killer Joe, The Boys in the Band, Deal of the Century, Cruising and To Live and Die in L.A. will sit down with Michel Ciment on Wednesday, 5.18. Friedkin will also introduce a “restored surprise” film at the Salle Bunuel as well as Sorcerer (’77) at the Cinema de la Plage. Likelihood of HE attendance: Almost zero. I’ve listened to Friedkin talk about everything under the sun at various venues for a good 25 years now. Due respect but doubtful.
Restored version of Frederick Wiseman‘s Hospital (1969, 94 mins., USA). Likelihood of HE attendance: Zero.
Michele Russo‘s The Family Whistle (2016, 65 mins., Italy) — Fawning doc about the Coppola family — their arrival in the U.S., their links with their native Italy and their relationship to music. With Francis Coppola and Talia Shire in attendance. Likelihood of HE attendance: Low but maybe.
Eryk Rocha‘s Cinema Novo (2016, 90 mins., Brazil) — A political/poetic movie essay on a wave of probing, cutting-edge films that came out of Brazil in the ’60s and ’70s. HE anecdote: I sat down for a dinner with Cinema Novo figurehead Carlos Diegues at the Spring Street Bar & Grill sometime around ’79; Fabiano Canosa was also there. My impression at the time was that Diegues was a dead ringer for Phil Foster. Likelihood of HE attendance: Zero.
Sally Sussman‘s Midnight Returns: The Story of Billy Hayes and Turkey (2016, 99 mins., USA). “The story of Midnight Express as told by director Alan Parker, screenwriter Oliver Stone and producer David Puttnam. In parallel the real protagonist Billy Hayes discusses his personal journey and how his life has changed. Turkey, the image and the diplomatic relations of which were affected by the film, gives its point of view, as Hayes tries to go back there to rebuild broken links.” Likelihood of HE attendance: Better than 50% but no promises.
Alexis Bloom and Fisher Stevens‘ Bright Lights (2016, 95 mins., USA). “The life and intimate relationship of Carrie Fisher and her mom Debbie Reynolds. A tender documentary on two golden ages of American cinema.” So this’ll cover material that wasn’t in Wishful Drinking? Likelihood of HE attendance: Maybe.
Benoît Jacquot, Pascal Mérigeau and Guy Seligmann‘s Gentleman Rissient (2015, 74 minutes, France). Nine years after the Cannes debut of Todd McCarthy‘s Man of Cinema, the festival is screening another tribute to the legendary Pierre Rissient — “a man of discovery, publicist, producer, director and tireless ambassador of world cinema.” Likelihood of HE attendance: Not high.
Pierre Filmon‘s Close Encounters with Vilmos Zsigmond (2016, 82 mins., France). “The life of cinematographer Vilmos Zsigmond from the streets of Budapest to Hollywood. Many performers, including John Travolta and Nancy Allen, and famous cinematographers talk, question him and we discover a complete artist.” Likelihood of HE attendance: Zero.
Film Foundation and KADOKAWA Corporation restoration of Kenji Mizoguchi‘s Ugetsu (1953, 97 mins. Japan). Likelihood of HE attendance: Maybe.
2K restoration of Jean-Luc Godard‘s Masculin féminin (1966, 110 mins, France). Likelihood of HE attendance: Bluray.
Restoration of Roger Corman‘s The Pit and The Pendulum (1961, 80 mins., USA). “35mm archival print made in conjunction with the Academy of Motion Picture Arts and Sciences and producer Jon Davison from the original negative at Fotokem Los Angeles. Damaged shots were restored digitally and re-cut into the film. Likelihood of HE attendance: Amazon streaming later this year, if that.