* Damier canvas, chocolate-colored cross grain leather lining
* Flap and press stud closure
* Two bill slots, one long compartment for papers and receipts, one zipped coin compartment
* Two credit card slots
and family dysfunction After a slightly underwhelming 2012 edition, the Cannes Film Festival the most prestigious, pretentious, glamorous and gratifying of all international cinema events is back and looking better than ever.
Sure, we say that every year, but the 2013 competition slate is really, truly enticing. There are appealing new works from Cannes like the Coen brothers, Steven Soderbergh, Jim Jarmusch, James Gray, Arnaud Desplechin, and Paolo Sorrentino. Other seasoned filmmakers like Roman Polanski, Fran Ozon, Alexander Payne, China Zhang Ke Jia, and Chad Mahamat Saleh Haroun will unveil their latest movies. And two of the most exciting directors working today, France Abdellatif Kechiche (who made the superb of Love Chance and Secret of the Grain and Iran Asghar Farhadi (whose terrific Separation was the foreign film sensation of 2011), will compete for louis vuitton amazon shoes the Palme d for the very first time. Moreover, a closer look at the movies vying for the top award reveals a few tantalising trends. The 2013 line up appears less political than in previous years, and at first glance, few of the entries suggest the thematic scope or formal ambition of 2011 louis vuitton bags prices in usa Cannes prize winners like Terrence Malick of Life Lars Von Trier or Nuri Bilge Ceylan Upon a Time in Anatolia But going on what little we know about the films in competition, this year edition will be ripe with drama of all varieties erotic, romantic, domestic, existential, supernatural and pairs of potentially juicy lead performances. Sex, love, mind games, and blood suckers Cannes, being a French flavoured international film festival, has never shied away from sexually bold or graphic works; Lars Von Trier ( the Waves was a favourite on the Croisette until he made unwelcome comments about Hitler at the 2011 press conference, and Vincent Gallo Brown Bunny with its notorious 10 minute fellatio scene, screened in 2003. This year crop is no exception. Fran Ozon will present et jolie ( and Pretty about an adolescent girl who becomes a prostitute to satiate her physical yearnings. It may not sound like anything new, particularly for a French film, but Ozon has delved into fascinatingly ambiguous zones of desire with satisfying results in movies like Lovers the Sand and Pool Roman Polanski, who explored repressed urges in films like in the Water and tackles material with a more overt erotic charge in in Fur a French language adaptation of David Ives play (itself an adaptation of Leopold von Sacher Masoch novel, which inspired the term about an actress who engages a director in psychosexual power games in order to convince him she right for a part. These are plum roles, and if the chemistry is strong between stars Emmanuelle Seigner (Polanski wife) and Mathieu Amalric, an acting prize or two could be in the works. Meanwhile, two gay themed love stories are among the most eagerly anticipated competition films: Abdellatif Kechiche, best known for novelistic portraits of a multi ethnic France, changes it up with vie louis vuitton neverfull look alike d ( Life of Ad about a teenager (played by Ad Exarchopoulos) whose passionate affair with another young woman (played by rising star L Seydoux) causes problems with her parents; and the most chameleon like of US directors, Steven Soderbergh, will screen what he says is his movie, the Candelabra (trailer below), which turns on the relationship between flamboyant American musician Liberace and his younger boyfriend (played by Michael Douglas and Matt Damon, either of whom could be a Best Actor contender). Though the couple at the heart of Soderbergh film is unconventional (Liberace pays for his lover to undergo plastic surgery so the two can look alike), the oddest love story of the bunch could be Jim Jarmusch Lovers Left Alive a century spanning romance between vampires played by pale, freakish British beauties Tilda Swinton and Tom Hiddleston. Family dysfunction in various genres The other major theme among competition films seems to be domestic dysfunction, though a number of these entries appear to explore messy family relationships within unexpected genres. Nicolas Winding Refn Bangkok set action thriller God Forgives (trailer below), his (equally stylised looking) follow up to features Kristin Scott Thomas and Ryan Gosling as a mother and son out to avenge a relative death. Amat Escalante Mexican crime drama revolves around a man navigating an underworld of mafia, drug dealers and prostitutes in search of his missing father. And Japanese director Takashi Miike of Straw has been described as an western in which a millionaire offers a large sum of louis vuitton bags kijiji toronto money for the head of the man who murdered his daughter. Alexander Payne, who, with Schmidt and Descendants has mastered a trademark blend of stinging satire and great depth of emotion, returns with a black and white road movie starring Bruce Dern and Will Forte as an alcoholic father and his wary son. Valeria Bruni Tedeschi autobiographically inspired chateau en Italie will also likely offer a mix of humour and darker notes, with its story of a wealthy French Italian family forced to give up its ancestral home in Italy. Importing some of the themes of Separation onto French soil, Asghar Farhadi Past has been billed as a marital drama laced with mystery, about an Iranian finalising a divorce with his Parisian wife ( Artist B B as she takes up with a new lover ( Prophet Tahar Rahim). The film may show B a late game replacement for Marion Cotillard, continuing to extend her dramatic range something that could make her a Best Actress contender. And Japanese director Hirokazu Kore eda Father, Like Son focuses on a couple reeling from the discovery that their six year old, having been switched at birth, is not their biological child. As is the case with most of these films, Kore eda story has been done before but this being Cannes, one is permitted to expect (or at least hope for) the unexpected.
FRANCE 24 film critic Jon Frosch left New York in 2002 for Paris, the best movie going city in the world. His work has appeared in The New York Times, the International Herald Tribune, the Boston Globe, The Atlantic, The Village Voice, LA Weekly, The Hollywood Reporter, Variety, and other publications, and he has served on critics juries at the Venice Film Festival and Montreal Film Festival. In this Cannes blog, Jon brings you the latest on the movies, people, controversies, and gossip at the year biggest international cinema event.