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CANNES FILM FESTIVAL REPORT
AND A BIRDSEYE PHOTOGALLERY OF WORK AND PLAY WHILST CANNES FUJIFILM MOTION PICTURE ENTERTAINS IN GRAND STYLE FROM
THE PRESTIGIOUS ROOFTOP TERRACE OF THE HOTEL MARTINEZ
shut out on awards night including Pedro Almodóvar, whose thriller about radical cosmetic surgery, The Skin I Live In, had the audience applauding. Special acclaim went to DP José Luis Alcaine, who used Fujifilm for some of the shoot.
Talking of Fujifilm, critics and observers generally agreed that this year’s Cannes fest was striking in that a number of awards’ worthy films were entirely overlooked. Principal among them was Lynne Ramsay’s critically acclaimed We Need To Talk About Kevin, shot on 35mm Fujicolor ETERNA Vivid 500T by Oscar nominee Seamus McGarvey ASC BSC. Viewed very much as a “women filmmakers” production, it ought to have been a cinch for a Cannes nod but producer and star Tilda Swinton went home quite inexplicably empty-handed, prompting many critics to shake their heads and say, “We need to talk about the Awards’ jury”.
Similarly, Bakur Bakuradze’s The Hunter (Okhotnik) failed to win any honours in the festival’s prestigious Un Certain Regard showcase section, despite critically lauded cinematog- raphy by DP Nikolay Vavilov, who photographed the drama on 35mm Fujicolor ETERNA 400T. New Zealand filmmaker Sam Holst’s Meathead was up for awards in the Short Film sec- tion. DP Andrew Commis shot the movie about a 17-year-old’s first day on the job at a meat-processing plant on 35mm Fujicolor ETERNA 500T.
Aussie DP Geoffrey Simpson ACS came in for much praise for the quite beautiful Australian, In Competition, feature Sleeping Beauty, by first-time director Julia Leigh.
Again, in a year when female directors were the focus of this competition, the jury did not rouse themselves to wave their wand over Sleeping Beauty despite it being shot on 35mm Fujicolor ETERNA Vivid 500T to great effect.
A-listers and even a few of the usual Cannes characters sprinkled stardust during the 12 day event, including Penn, Pitt, his partner Angelina Jolie, Johnny Depp and Penélope Cruz, plus Woody Allen who turned up for his festival opening romantic comedy Midnight In Paris. Cruz starred with Depp in Pirates Of The Caribbean: On Stranger Tides, shown out of competition.
Fujifilm were out in some force entertaining various DPs, colleagues, visitors and festivaliers from their sunny base atop the beautiful Terrace of the Hotel Martinez, over- looking the pool as the photographs above and below amply testify. Some excellent business was concluded, many new friends made, glorious weather for a change and a chance for young and old cinematographers, producers and directors to chew the fat with the industry’s most helpful and amenable film stock company. Nobody does it like Fujifilm Cannes!
Photo main left: Gareth Unwin (Producer of The King's Speech) & Rosie Ellis (Set Designer) and above (l-r top): Marc Van Agten (Fujifilm Australia), Mike Mimaki (Fujifilm Europe), Nohoko Mimaki, Rie Kondo (Fujifilm Europe); (l-r) Simon Baxter (Fujifilm Europe), Dan Clark (Fujifilm Europe), David Honey (Fujifilm Europe), Rachel Baker (Fujifilm UK);
(l-r) Sam Shutt, Kishor Ladwa - Technicolor; and below (l-r) Dan Clark (Fujifilm Europe); Isabel Piedoue - Fujifilm France and clients; Jens Seddig - Fuji Kine Film (Germany);
Alan Fraser - Fujifilm North America; Simon Baxter - Fujifilm Europe; (l-r) Flavio Trezzi - Fujifilm Italy, Nicole Sauvageod - Fujifilm Europe; Millie Morrow - Fujifilm Europe;
Erwin Parth - Fujifilm Italy; Flavio Trezzi - Fujifilm Italy, Nicole Sauvageod - Fujifilm Germany, Marc Van Agten - Fujifilm Australia
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 11