This year’s Cannes Film Festival (17th – 28th May) is the 70th edition of the event and the festival head Thierry Fremaux announced the Official Selection of films programmed last week. Critics are salivating over the fact that there are two Netflix films: the monster movie Okja by Bong Joon-ho (The Host) and The Meyerowitz Stories by Noah Baumbach (writer on The Life Aquatic with Steve Zissou and director of Mistress America). There will be two TV series for audiences to watch: David Lynch’s Twin Peaks and Jane Campion’s Top Of The Lake and lots more familiar faces such as Sofia (Somewhere) Coppola’s The Beguiled, Michael (Code Unknown/Cache) Haneke’s Happy End (knowing Haneke, it’s probably an ironic title…). More importantly, there are also nine first-time filmmakers getting their works screened.
Why is that important?
The Cannes Film Festival comes into 2017 with a need to find fresh blood and this is seemingly strong selection because may be it. Since this is the 70th anniversary of the festival and the fact that, last year, organisers faced fierce criticism last year for their lack of female directors, commentators identified that they needed to do a couple of things: broaden out its programme so that there are filmmakers other than the old guard (Campion, Haneke, Kawase, Haynes, the Dardennes brothers etc.) and increase the number of female-centric stories and female-led films across the programme. The old guard are back but just by glancing at the lists of announced films, it is clear that the festival has achieved some of its goals and will probably avoid the criticism it faced last year – hopefully, no high-heels and breast-feeding baby incidents will crop up). Things are a bit of a mixed picture when it comes to the Japanese films.
So far, there are four Japanese films programmed, and three come from festival regulars: Kiyoshi Kurosawa, Naomi Kawase, and Takashi Miike. Two of the four are adaptations while the other two are original dramas. Out of the dramas, one is made by a seasoned professional while the shorter one at 45 minutes is from a student. The presence of a fresh director is always something to cheer when it comes to Japanese films at international festivals and this director is a lady to boot: Aya Igashi. She is a graduate from Toei Gakuen Film College’s movie production department and is already working on her third film.
So, while we can all sigh and shrug our shoulders at the lack of original content, we can take comfort in the fact that Aya Igashi is on the radar of people who programme the festival.
What are the films playing this year?
Continue reading “Japanese Films at the Cannes Film Festival 2017”