Miele

Cannes 2013

The Cannes Film Festival is all wrapped up for another year; the awards have been given out, and pundits are busy working out what’s going to go the distance in the coming awards season, and what will fall by the wayside. In my first time at Cannes, I managed to watch 41 films, including all 20 films In Competition, and have arrived at the 10 films that I feel were the best of show. Put simply, these are ones to watch out for:

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Three-hour lesbian drama Blue is the Warmest Color was announced the winner of the prestigious Palme d’Or at the 2013 Cannes Film Festival, a choice that many foresaw as likely but not a sure thing. The jury that awarded the honor was led by Steven Spielberg and also included Nicole Kidman, Ang Lee, Christoph Waltz and Lynne Ramsay. For the second place Grand Prix winner, they picked the latest from the Coen Brothers, Inside Llewyn Davis, while for Jury Prize (considered the third biggest deal) they chose Hirokazu Kore-eda‘s Like Father, Like Son. Like Father, Like Son was also recipient of an honorable mention from the Christian-based Ecumenical Jury, whose top prize went to The Past — the star of which, Bérénice Bejo, was named Best Actress by the main Cannes jury. Blue is the Warmest Color also earned multiple honors from the fest, taking the critic choice FIPRESCI Award for the In Competition category. The biggest surprise of today’s announcement seems to be Spielberg and Co.’s naming of Bruce Dern as Best Actor for the new film from Alexander Payne, Nebraska. After the jump, you can find a full list of main jury winners (from the festival website) and other honorees announced over the weekend accompanied by links to our review of the film where available.

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There sure was a lot to talk about with a certain summer blockbuster this week. So much that this week’s Reject Recap is nearly half-filled with highlights of stuff written on Star Trek Into Darkness. And yes, the villain’s name comes up. It’s not a spoiler anymore. Everyone knows. And it doesn’t even matter if you know or not. Just like it doesn’t matter if Alice Eve has a gratuitous underwear scene or Benedict Cumberbatch has a shower scene if neither of them is otherwise an interesting character — and that’s a more worthwhile debate for this particular film, too. Anyway, I’ve spread the Trek links a bit, giving them the even alternating slots because there used to be (no longer, apparently) that rule that even-numbered Trek films were the good ones. Anything else happen in the past seven days? Well, our man in Cannes, Shaun Munro reviewed I think 400 movies, give or take a few. Arrested Development is returning this weekend so we had something fun to share related to that. And filmmaker Sean Hackett (Homecoming) shared a personal essay in the hopes of helping bullied movie fans out there. Two highlights come from outside the FSR gates this week, and as usual I invite you to suggest great writing on film to include here in the future. Because we can’t always cover everything, and I can’t always read everything. Oh, and one more great thing from the past week, which we humbly didn’t highlight among the ten: […]

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Miele is directed by Valeria Golino, best known to English-speaking audiences as Topper Harley’s sexy, exotic girlfriend in the popular Hot Shots duology. That description, however, might be a reductive summation of her talents, because two decades later, she demonstrates what must be a higher calling as a director of challenging, thought-provoking drama in a film that should surely have landed In Competition — instead appearing in the still-esteemed Un Certain Regard cachet — and is presently the film to beat of not just the festival but the entire year. Going by the pseudonym Miele, Irene (Jasmine Trinca) is an angel of death, helping to give the terminally ill a peaceful means to leave this world, usually with the assistance of a loved one. To perform these euthanisations, she typically travels from Italy to Mexico to procure a barbiturate used to put dogs down and then implores said patient to drink it with vodka. However, one patient, who wishes to die but is not terminally ill, tests the mettle of Irene’s resolve, causing her to confront the very nature of her work.

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