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Groans for Gosling’s directorial debut
On the other end of the spectrum, Ryan Gosling has debuted as a film director at Cannes with a stylish, theatrical fable that critics quickly slammed.
The first screening of Gosling’s “Lost River” played for one of the festival’s most packed crowds Tuesday, who surely got something they weren’t expecting. “Lost River” is a baroque fairy tale set in the ruins of Detroit, filmed with bold cinematography and a lurid, David Lynch-like atmosphere.
Immediate reaction from critics was largely negative. Variety’s Scott Foundas called it a “first-rate folie de grandeur.” The Telegraph’s Robbie Collin dubbed it “dumbfoundingly poor.”
– Associated Press

Cotillard may help directors make Cannes history


– Could “Two Days, One Night” make Cannes history?

Gritty social commentators the Dardenne brothers are back painting on their cinematic human canvas with the movie – a gut-wrenching parable on human survival and the value of 1,000 euros in a working-class Belgian community.

The film stars a magnificent Marion Cotillard – unrecognizable as depressed, Xanax-gobbling Sandra who embarks on a devastating two-day struggle, and even a brush with suicide, to save her job at a solar-panel factory.

The film that had audiences in sobs has already set social media alight with critics’ whispers that it’s a heavyweight contender for the Palme d’Or.

If they succeed, the Belgian auteurs would break the record as the only filmmakers to have won three top awards in the entire 67-year-history of the Cannes festival. Their naturalistic films took the Palme d’Or in 1999 for “Rosetta” and in 2005 for “The Child.”

Cotillard, too, has drawn praise and award predictions.

The red-carpet beauty gives her all in her transformation as a hunched, scruffy and effaced mother two who frequently breaks down in tears and is victim to debilitating panic attacks. With a history of depression, she has her life thrown back into chaos when her boss asks factory co-workers to vote to sack her or lose their 1,000-euro bonuses.

In an odyssey exploring core human nature, in the film she visits each and every one of her colleagues to confront them with a choice: self-interest or empathy.

Striking transformations are nothing new for the French actress, who won an Academy Award for her portrayal of frail Edith Piaf in “La Vie en Rose.” And in last year’s “The Immigrant,” she learned to speak Polish for the role.

Cotillard says she researches the psychology of the character, and the physical changes happen automatically.

“It’s a work of investigation,” she said. “All the physical behavior in each of us is a way to express ourselves.”

She says after the initial research is over, she simply gives the “car keys to the character” and the acting from day one happens as if on autopilot.

Her other niche, she admits, is taking on the role of the struggling underdog.

“I like complex roles … beings that fight for their survival and that will, in doing this, discover things inside them that they didn’t suspect,” she said.

Cotillard’s starry presence on this project has assured the biggest international exposure for Jean-Pierre and Luc Dardenne – who normally cast lesser-known figures.

In the United States, the cable network IFC has already announced it will distribute the movie this year.

The Palme d’Or winner will be announced Saturday.