Some guys dream of sleeping with Eva Mendes, others long for a winning lottery ticket to magically appear on their doorstep. Either one of those scenarios would be wonderful to me, too, obviously, but my wishes run a bit more to the left. One of the most enduring, insurmountable (for the time being, I can hope) of mine is to get the royal hook-up, VIP treatment at the Cannes Film Festival. An all-access pass to see all of the fest’s flicks.
This year’s edition kicks off this Wednesday, May 13, and ends a week from Sunday, May 24, and will feature three Official Selection entries that I’d probably punch somebody’s grandmother to see this month.
Falling just shy of this list is Terry Gilliam’s The Imaginarium of Dr. Parnassus, Heath Ledger’s final headliner and a head-scrambler that I’m sure will look amazing and rub off quite existentially. But these three Cannes competitors are doing it for me more:
1) Enter The Void: Two of the most unsettling, relentless hardcore dramas that I’ve ever seen remain I Stand Alone and Irreversible. The common thread between the two—-writer/director Gaspar Noe, a Frenchman with a fascinating mind. The trick of stopping I Stand Alone‘s endgame abruptly to warn of a particularly rough scene to come, ticking clock included, is so crazy that I can’t help but bow. The entire first 50-or-so minutes of Irreversible, namely the frantic camera-spinning within Club Rectum, ripped my eyelids open to full-mast attentiveness harder than anything I’d seen before. So, naturally, Enter The Void, his third film, is a must-see, whenever the hell it makes its way to our side of the globe.
The Plot: “Oscar and his sister Linda are recent arrivals in Tokyo. Oscar’s a small time drug dealer, and Linda works as a nightclub stripper. One night, Oscar is caught up in a police bust and shot. As he lies dying, his spirit, faithful to the promise he made his sister that he would never abandon her – refuses to abandon the world of the living. It wanders through the city, his visions growing evermore distorted, evermore nightmarish. Past, present and future merge in a hallucinatory maelstrom.”
—-How’s that for intriguing?
—-Word is that the central theme of Antichrist revolves around the fucked-up idea that Satan, not God, created the world. Whoa.
—-There’s a scene that comes at the tail-end of the script that involves a prominent character, a giant movie theater screen, and a bunch of folks realizing that they’re truly screwed…..if this moment looks half as great as it did in my head while reading the script, I’ll stand up and applaud in front of everybody else in AMC/Loews attendance.