Tag Archives: festivals

Keep The Lights On Takes Outfest Jury Nod; Mosquita Y Mari Wins Audience Award

Ira Sachs’ Keep The Lights On won the the Grand Jury Award for Best U.S. Dramatic Feature as well as the prize for Screenwriting, capping the 30th Outfest, the Los Angeles LGBT Film Festival. Starring Thure Lindhardt and Zachary Booth, the film centers on doc filmmaker Erik Rothman who meets Paul Lucy a handsome but closeted lawyer in the publishing field. What begins as a highly charged first encounter soon becomes something much more, and a relationship quickly develops. As the two men start building a home and life together, each continues to privately battle their own compulsions and addictions. In other juried nods, Alan Cumming won the best actor award for Any Day Now , while Fenessa Pineda won for her role in Mosquita & Mari . The film also won the Audience Award for Outstanding First U.S. Dramatic Feature Film. The Audience Award for Outstanding Dramatic Feature Film went to Any Day Now , directed by Travis Fine. 30th Outfest Prize Winners Jury Awards : Grand Jury Award for Outstanding Documentary Short Film Sponsored by Greenhouse Studios The Devotion Project: More Than Ever , Directed by Antony Osso. For its sensitive portrayal of enduring love that spans seven decades, the Outfest 2012 Grand Jury Award for Outstanding Documentary Short Film goes to The Devotion Project: More Than Ever directed by Antony Osso. Grand Jury Award for Outstanding Dramatic Short Film Sponsored by CRE – Computer Rentals & AV Solutions Dol (First Birthday) , Directed Andrew Ahn For its honest exploration of the complexities of culture, family and relationships, the Outfest 2012 Grand Jury Award for Outstanding Dramatic Short Film to Dol (First Birthday) , directed by Andrew Ahn.   Grand Jury Award for Outstanding Documentary Feature Film Sponsored by Avalon Wildness , Directed by Wu Tsang With beautiful cinematography, a vibrant score and poetic storytelling, this year’s winning documentary succeeded in taking on the complexities of class, culture and difference in a most timely and brave fashion. The Outfest 2012 Grand Jury Award for Outstanding Documentary Feature Film goes to Wildness , directed by Wu Tsang.   Grand Jury Award for Outstanding International Dramatic Feature Film Sponsored by The Los Angeles Athletic Club My Brother The Devil , Directed by Sally El Hosaini For its taut narrative, sensitive interrogation of masculinity, excellent performances by an ensemble cast, and intense cinematic experience, the Outfest 2012 Grand Jury Award for Outstanding International Dramatic Feature Film goes to My Brother The Devil , directed by Sally El Hosaini.   Grand Jury Award for Outstanding Actress in a Feature Film Sponsored by The Avenue Hollywood Fenessa Pineda , Mosquita Y Mari   This actress brought nuance and subtlety to a fresh coming of age story. For beautifully capturing the fleeting moments of transition from innocence to curiosity to self-discovery, the Outfest 2012 Grand Jury Award for Outstanding Actress in a Feature Film goes to Fenessa Pineda in Mosquita Y Mari .   Grand Jury Award for Outstanding Actor in a Feature Film Alan Cumming , Any Day Now For bringing depth, humor, fierce wit, and emotional integrity to a moving portrait of a man who unexpectedly finds a family and the strength to fight for it, the Outfest 2012 Grand Jury Award for Outstanding Actor in a Feature Film goes to Alan Cumming in Any Day Now .   Grand Jury Award for Outstanding Screenwriting Sponsored by Yellow Cab Ira Sachs & Mauricio Zacharias , Keep The Lights On For masterfully constructing an emotionally honest portrait of a relationship that spans the better part of a decade and artfully weaving the mundane and the momentous, the Outfest 2012 Grand Jury Award for Outstanding Screenwriting goes to Ira Sachs and Mauricio Zacharias for Keep The Lights On .   Grand Jury Award for Outstanding U.S. Dramatic Feature Film Sponsored by Saks Fifth Avenue Keep The Lights On , Directed by Ira Sachs   This film resonated with us for its confidence, complexity, and emotional intelligence. For taking us on a challenging but poetic journey through the landscape of a long-term relationship, the Outfest 2012 Grand Jury Award for Outstanding U.S. Dramatic Feature Film goes to Keep The Lights On , directed by Ira Sachs. Audience Awards Audience Award for Outstanding Documentary Short Film Sponsored by Ramada Plaza Hotel West Hollywood A Force of Nature , Directed by Barbara Kopple   Audience Award for Outstanding Dramatic Short Film Sponsored by Wolfe Video The First Date , Directed by Janella Lacson   Audience Award for Outstanding Documentary Feature Film Sponsored by Greenhouse Studios I Stand Corrected Directed by Andrea Meyerson   Audience Award for Outstanding Dramatic Feature Film Sponsored by Innovative Artists Any Day Now , Directed by Travis Fine   Audience Award for Outstanding First U.S. Dramatic Feature Film Sponsored by HBO (cash prize of $5,000 from HBO) Mosquita Y Mari , Directed by Aurora Guerrero

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Keep The Lights On Takes Outfest Jury Nod; Mosquita Y Mari Wins Audience Award

Mira Nair’s The Reluctant Fundamentalist to Open 69th Venice Film Festival

The world premiere of international political thriller The Reluctant Fundamentalist will launch the Venice Film Festival August 29th. The film is based on the best-selling novel of the same name about a young Pakistani man chancing corporate success on Wall Street, but becomes embroiled in a conflict between his American Dream, a hostage crisis, and the enduring call of his family’s homeland. The feature will screen out of competition stars Riz Ahmed, Kate Hudson, Kiefer Sutherland, Liev Schreiber, Martin Donovan, Om Puri, Shabana Azmi, Haluk Bilginer and Meesha Shafi.  “The festival’s opening night will feature a film that provides much food for thought. It is a choice that intends to highlight the growing role of female creativity in all spheres of culture and contemporary society,” said Alberto Barbera in a statement. “Mira Nair has made ??an exemplary film adaptation of a novel that deals with the topical issue of fundamentalisms of any kind or nature. With great sensitivity, subtlety and remarkable sense of cinematic narrative, the director is never reluctant to take a difficult stand, inspired by profound ethical and moral reasons that, although choosing to face reality, still reject its compromises and aberrations.” This is Nair’s fifth visit to the Venice Film Festival. She won the festival’s top prize, the Golden Lion for Monsoon Wedding in 2001. The 69th Venice Film Festival runs August 29 – September 8. The Reluctant Fundamentalist synopsis courtesy of the Venice Film Festival : Student demonstrations are raging in Lahore, as young Pakistani professor Changez Khan and a journalist, Bobby Lincoln, share a cup of tea and conversation.  Princeton-educated Changez tells Lincoln of his past as a brilliant business analyst on Wall Street. He talks of the glittering future that lay before him and the beautiful and sophisticated Erica whom he was set to share that future with.   But then 9/11 changes everything. Attitudes shift dramatically – his very name and face rendering him suspect.  Returning to his homeland and the family to whom he is very close, he takes up a post as lecturer at the local university, a hotbed of radicalism and the new militant academia.   The collegial pretense of the meeting in a Lahore teahouse, between Lincoln and Changez, slowly gives way to why the unlikely pair has gathered on a summer day — another professor has been kidnapped by extremists, and the clock is ticking toward a deadline for his execution. Changez’s family is being harassed and is in real danger. Bobby is there to listen, with an agenda of his own.  As it is revealed that Lincoln is in the lions’ den with the CIA, we also learn that he has a personal stake in the immediate crisis at hand. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul The Reluctant Fundamentalist is an exploration of prejudice and the phenomenon of globalization that is both exhilerating and deeply unsettling.

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Mira Nair’s The Reluctant Fundamentalist to Open 69th Venice Film Festival

7 Premieres & 7 Parties Set for Week-long Gen Art Festival

Gen Art, the yearly New York film festival that attracts a good-looking get in-the-know crowd to its packaged week of nightly premieres followed by a party at different NYC hot-spots has unveiled details on its 17th edition taking place August 8 – 14. Missed Connections starring Jon Abrahams and Mickey Sumner will open the festival, while the world premiere of The Kitchen starring Laura Prepon and Dreama Walker will close out the fest. Details follow on Gen Art’s seven feature premieres: The 14 selected films also include performances from actors such as Bryan Greenberg, Kathy Bates, Christopher Lloyd, Toby Hemingway, Kurt Fuller and Jake Hoffman, with directorial debuts from Ryan Eggold ( 90210 ) and Jaime King ( Sin City ). “Our festival this year features intriguing performances from prominent actors as well as some exceptional work from talent making their debuts on both sides of the lens,” commented Marc Lotenberg, CEO of GenArt in a statement. “We look forward to this event every year and are glad to be back to give these talented filmmakers a chance to have their New York city premieres.” 17th Gen Art feature film lineup with descriptions courtesy of the event (all features will be preceded by a short, details can be found at the festival’s website . Missed Connections Director: Martin Snyder (Comedy) In a city of 19 million people, love at first sight happens every instant. But if you fail to act in the moment, how can you find each other again? ‘MISSED CONNECTIONS’ is a dynamic, new independent comedy about the lengths New Yorkers will go to find love. Cast: Jon Abrahams, Mickey Sumner, Malcolm Barrett, Waris Ahluwalia Privacy Director: Jorg Ihle (Thriller) When a young programmer creates a spy app and accidentally hacks into all the smart phones across NYC, he gets way more than he ever expected and soon becomes entangled in a web of romance, crime and murder. Cast: John Shephard, Gina Busch The Magic Life Director: Nelson Cheng (Documentary) “The Magic Life” is a new documentary following three aspiring magicians as they try to pull off the biggest trick of their lives by turning their passion into a profession. Leave Me Like You Found Me Director: Adele Romanski (Drama) After a year of heartbreak and loneliness, Erin and Cal have forgotten enough of each other’s flaws to get back together. Cracks start to show and each is left wondering whether the other has changed enough to make it work this time. Cast: Megan Boone, Patrick Kack-Brice The Silent Thief Director: Jennifer Clary (Thriller) “The Silent Thief” is a fast paced examination of tenuous familial bonds, the human to belong and the thin line between sanity and insanity. Brennan Marley is an outcast drifter who descends upon a family in crisis and attempts to remedy their problems with an odd solution: he will take their biological son’s place in the family unit. Cast: Toby Hemingway, Cody Longo, Frances Fisher, Kurt Fuller Kid-Thing A Zellner Brother Film (Drama) Annie is a rebellious ten-year-old girl. She lives on the outskirts of town with her father Marvin, who, when not herding goats, mostly sleeps the day away. Virtually devoid of parental guidance, Annie is left to fend for herself and do as she pleases until her routine is broken one day while playing in the woods; she hears an old woman calling from deep within an abandoned well, asking for help. Cast: Sydney Aguirre, David Wingo, Nathan & David Zellner The Kitchen Director: Ishai Setton (Comedy) Jennifer (Laura Prepon) is turning 30 and her best friend Stan (Matt Bush) is throwing her a party. But she’s in no mood to celebrate. She just left her job as well as her cheating boyfriend, Paul (Bryan Greenberg). Her sardonic little sister Penny (Dreama Walker) has shown up with a life-changing decision to make and she’s definitely sure she’s too old to be living with her creepy roommate still. Cast: Laura Prepon, Bryan Greenberg, Dreama Walker (World Premiere)

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7 Premieres & 7 Parties Set for Week-long Gen Art Festival

The Internet Cat Video Film Festival Should Be Interesting

I’m getting to this a wee bit late, but hey : The Walker Art Center in Minneapolis has announced plans for the inaugural Internet Cat Video Film Festival, which is… exactly what it sounds like. LOL? The Aug. 30 event will take place as part of the Walker Open Field program; its organizer has elaborated on the details at the program’s site: Walker Open Field welcomes cat lovers (and challenges haters – c’mon, you know who you are) to openly release your cat-video-induced giggles and emotions that are otherwise muffled by computer screens and constrained by cubicles. Rejoice and be free like my favorite triumphant slow-motion kitten playing in the video below. Let’s transform this singular small screen viewing experience into a shared celebration with the larger-than-life projection of these silly clips out on the Open Field. Not only am I totally down with this, but I recommend everyone attend this year before the scene is overrun with scenesters and marketers and gifting suites flanking bumper-to-bumper traffic in which Harvey Weinstein barks bidding-war instructions to his SUV full of subordinates (“She licks herself! We can release it unrated !” etc. etc.) beneath a smoggy pall of industry anomie. Or, failing that, you can always elect your favorites for inclusion here . Anyway, about that slo-mo kitty: [ Animal via Gawker ; photo via Walker Open Field ]

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The Internet Cat Video Film Festival Should Be Interesting

Magic Mike Closes LA Film Fest With A Bang, And Beefcake

The promise of seeing Channing Tatum , Matthew McConaughey, and their manscaped compatriots bare (almost) it all in Steven Soderbergh ’s Magic Mike has quickened the collective pulse of the film’s target audience in the weeks leading up to Friday’s release. But while ladies and many gents will get a titillating thrill from the scantily-clad dance numbers and cheesy-fantasy bumps ‘n’ grinds (and there are so, so many), what elevates the film beyond its “ Showgirls -with-men” concept is the depth and naturalness in the story of 30-year-old star performer Mike (Tatum) and his pursuit of the American dream as one of the “Cock-rocking Kings of Tampa.” Based loosely on Tatum’s eight-month experience as a male stripper in his teens — a time during which Tatum admits to witnessing a much more dark and depressing version of events than what producing partner/writer Reid Carolin transposes to the script — Magic Mike flies on Tatum’s charismatic turn as the male stripper at the center of this world filled with g-strings and crumpled dollar bills, the most ubiquitous, and sweat-drenched, tokens of power in this strange little world. An ambitious would-be entrepreneur who diligently saves the cash he earns working nights at McConaughey’s all-male dance revue, Tatum’s Mike dreams of starting his own custom furniture business but bad credit and a crap economy — and, more problematically, his hedonistic lifestyle — keep him from realizing his ideal life. When he meets an eager-but-directionless college dropout ( Alex Pettyfer ) and takes him under his wing, Mike sees a chance to mentor the kid. But the more that success comes at the club, the more Mike sees his real goals slipping further out of reach. Closing the LA Film Fest on a star-studded note — and with plenty of testosterone on the red carpet — Magic Mike should ride into release on Friday with healthy word of mouth, if only judging by the enthusiasm level in the ladies room following a press screening last week. Granted, a number of men seemed to have been left lukewarm by the sight of Tatum & Co. in various states of undress in the film: Cos-playing as firemen, Marines, doctors, and the like, air-thrusting in the daintiest of thongs, dry-humping dozens of female club extras. But the ladies room? Positively abuzz. A few loudly complimented the costume design, which boasts more thongs than we’ve seen since Baywatch — and those whale tails weren’t sported by oiled-up actors like McConaughey, who, set legend has it, improvised a “tuck and roll” move following a wardrobe malfunction (an overzealous extra was the culprit ) that seems to have made it into the film, a glimmer of panicked realism flickering across his face. There’s deeper prodding to be done about the men who protest too much about male nudity in Magic Mike , joyous moments of man-butts and chests, mostly, shot with plenty of humor. And there’s no real tit for tat, so to speak, with the few instances of female topless nudity seen in the film; lady boobs don’t really equal dude butts on the nudity continuum, but that’s how it is. Likewise, female-performer strip clubs and their male-performer counterparts are inherently different to boot, a fact that Soderbergh, Tatum, and Carolin rightly recognize — it’s generally dimly-lit sexual voyeurism vs. bright and cheesy fantasy spectatorship. But boy, does Soderbergh get that gloriously cheesy vibe. One could simply call it abs olutely s pec tacular on account of the man meat, which certainly delivers on raunchy, knowing fun. But it’s the deeper themes, captured in an observational style, that really make Magic Mike work as more than just a cheap thrill. It may be a stripper movie, but it’s also about economic self-determination and the struggle between art vs. commerce — and that goes as much for Soderbergh and Tatum as it does for the characters grasping for dollars, and their creative destinies, on-screen. Look for Movieline’s full review of Magic Mike this week, and stay tuned for more on the film. Read more from the LA Film Festival here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Magic Mike Closes LA Film Fest With A Bang, And Beefcake

Woody Allen Kicks Off LA Film Fest with To Rome with Love: ‘You Be the Judge’

Some were skeptical that Woody Allen would make an appearance at the opening night of the LA Film Festival , even with his latest Euro-whimsy To Rome With Love premiering in the kick-off slot Thursday night. But show up Woody did, with five of his starlets in tow — including Alison Pill, Greta Gerwig , and a dazzling Penelope Cruz — to debut his 43rd feature film with a few charmingly self-deprecating zingers. “I had a wonderful time making the picture in Rome,” Allen said, introducing his film to a packed theater at LA Live with a quip. “That doesn’t mean that you’ll enjoy it.” Allen continued, quietly demurring the palpable adoration of the opening night crowd, joined by Cruz, Pill, Gerwig, and Italian co-stars Alessandra Mastronardi and Simona Caparrini. “I had fun. I was there for three months eating pasta, working with beautiful actresses and scintillating leading men. It was great for me. But whether it came out or not, you have to be the judge. If you like it, I want you to tell your friends and pressure Sony, so they don’t put it in the Witness Protection Program.” [Sony Pictures Classics releases the film in select cities next week.] Allen’s Roman outing follows in the vein of his Oscar-nominated hit Midnight in Paris , exploring the spirit of the Eternal City through four light-hearted, if exhausting and scattered vignettes. In one, renowned architect Alec Baldwin visits his old Rome stomping grounds, running into Jesse Eisenberg’s 30 years-younger counterpart as he falls into an ill-advised affair. In another, a fiery hooker (Cruz) upends the life of a timid Italian newlywed. Roberto Benigni (“delightful, brilliant, sensational,” lauded Allen) shines in his own Fellini-esque tale of an average Roman businessman who becomes an overnight celebrity, enjoying — then bemoaning — the trappings of fame. And Allen stars himself, alongside Pill and a wonderfully acerbic Judy Davis, as a neurotic visiting American navigating culture clash with his Italian in-laws. To Rome may lack the pure magic and cohesion of Midnight in Paris , but it’s more fascinated with riffing on the fantasy that the Italian city inspires. (Critics were mixed following the film’s LA Film Fest premiere.) Among the themes turned over and over by Allen’s characters: Celebrity, desire, and the twin, or dueling, identities entrenched in the very fabric of the city — a place where the ruins of ancient civilization are an inescapable part of the modern landscape, a reminder of humanity’s impulse to reach for greatness, even at the risk of great failure. That hunger for life’s “what ifs?” is, the film argues, as essential as it is impossible to ignore. A starstruck woman ponders the extramarital affair that would make for a lifetime of stories; a mortician seizes the chance at operatic greatness, even under the silliest of circumstances. In the film’s most Allenesque pairing, Baldwin’s knowing John peppers Eisenberg’s Jack with the advice he knows he won’t heed, because he didn’t take it himself as a young man. Their double dose of relentless, self-aware commentary — about life, love, and the wrong choices (and ill-advised love affairs) you just can’t help choosing — speaks to a filmmaker who is all too haunted by his past, yet content to come to terms with the naivete of his younger self. Given how baldly he confronts the funny business of art and celebrity in the film, from all sides — the fleeting pointlessness (and compulsive appeal) of being famous for famous’ sake in today’s reality TV culture, the eternal struggle to balance art and commerce, even the oiliness and pretension pervasive to Hollywood types alike, personified by Italian actor Antonio Albanese and with particular deftness by Ellen Page — Allen’s pre-screening sign-off remained softly humble. “Thank you very much for showing up tonight,” he said. “If you like the picture, I’m thrilled. If you hate it and think it was a waste of time coming, don’t let me know [pause] because I get depressed easily.” To Rome with Love opens on June 22. Read more from the LA Film Fest here . Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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Woody Allen Kicks Off LA Film Fest with To Rome with Love: ‘You Be the Judge’

SIFF: Emile Hirsch on Killer Joe Pressure and David Gordon Green’s Secret Movie Prince Avalanche

At the Seattle International Film Festival over the weekend to fete director and Lifetime Achievement honoree William Friedkin and present their NC-17 Southern-fried potboiler Killer Joe , actor Emile Hirsch spoke with Movieline about the “secret” movie he’d just shot with David Gordon Green ( Prince Avalanche , also starring Paul Rudd) and the experience of being on a Friedkin set, where the pressure to deliver on a tight schedule was palpable. “If you messed up your lines or something, Billy would make you pay a little bit,” Hirsch said. “You really didn’t want to mess up at all.” Hirsch’s Killer Joe character already suffers his share of punishment in the brutal black comedy, adapted from the play by Tracy Letts ( Bug ); he plays Chris, a trailer park-dwelling drug dealer who enlists a cold-blooded cop (Matthew McConaughey) to kill his mother. Things go awry, to say the least, drawing the entire morally-corrupt family (Thomas Haden Church, Gina Gershon, Juno Temple) into the fray, with violent consequences. “On set it was a high wire act,” Hirsch said, introducing Friedkin’s tribute event at the Seattle Film Festival. “He would be totally supportive of the actors to give the best performance that they could, but he let you know that you weren’t just playing with free time. You were here to shoot a movie very quickly and do the very best you could; he didn’t want you to give a great take on the tenth take when you sort of felt like it, he wanted you to give ‘the take’ the first time out. He would constantly remind you, ‘This ain’t a play, mo.’” Friedkin’s reputation preceded him before Hirsh went to meet for Killer Joe , the director’s latest feature following 2007’s Bug . “The chance to get to work with him was sort of intimidating, because you don’t really know what to expect,” recalled Hirsch to Movieline. “A lot of these legends are like, is this guy a legend for his movies or is he just some crazy maniac axe-murderer? But what he lived up to was the energy; he’s a combination of a tornado of energy but also this really specific intellect. He has so many stories and such insight, and is really quick on his feet and spontaneous and in the moment. He’s a really interesting mix of elements.” That’s not to say Friedkin wasn’t demanding, especially when it came to Hirsch’s more punishing scenes. His character is beaten by goons and bashed with canned goods — Killer Joe has a way with perverting even the most familiar of comfort foods — and Friedkin relished in pouring on the fake blood. “My character definitely has a bad week,” Hirsch laughed. “I think I felt the pressure in the sense that he doesn’t like to do a lot of takes, so there would be one or two takes that you’d know you would have and you wouldn’t want to blow your lines or not give your best performance. He would light that fire under you and there would be pressure, and you knew that if you fell off the high wire act, there wasn’t a net underneath — it kind of hurts, you definitely don’t want to fall.” Hirsch also discussed Prince Avalanche , the David Gordon Green-directed indie filmed under the radar last month near Austin, Texas. A remake of the Icelandic comedy Either Way , about two men on a road-striping crew, the film stars Hirsch and Paul Rudd and, as Hirsch told Movieline, his involvement sprang from another ill-fated project he and Green once hoped to make. “ Prince Avalanche — I didn’t actually realize it was a secret movie, I just thought we were making a really small movie that no one knew about. David had called me and I’d been wanting to work with him for years; we almost made a movie called Goat a while back. And it’s this kind of crazy, awesome cool script we shot with Paul.” Hirsch kept details under wraps, though he had this to say about the remake: “[Hirsch’s character] is kind of an interesting dude. It’s very similar to the original in a certain sense. It’s set outside Austin, in Texas. It’ll be an interesting mix of some real pathos mixed with some comedy.” Stay tuned for more with SIFF honorees William Friedkin and Sissy Spacek. Follow Jen Yamato on Twitter . Follow Movieline on Twitter .

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SIFF: Emile Hirsch on Killer Joe Pressure and David Gordon Green’s Secret Movie Prince Avalanche

Bonnaroo 2012: 11 Moments You Missed (But We Didn’t!)

D’Angelo, Phish and the Beach Boys create unforgettable weekend. By Mary J. DiMeglio D’Angelo Photo: Gary Miller/ Getty Images MANCHESTER, Tennessee — The 11th annual Bonnaroo Music and Arts Festival rocked fans with Radiohead, the Red Hot Chili Peppers, Phish and about 150 other artists — including indie rock, hip-hop, jazz, bluegrass, African, folk, reggae, electronic and metal — over the course of four sleepless days and nights, Thursday to Sunday. When Phish closed out the weekend Sunday night, wrapping up 15 minutes before their scheduled midnight end time — very uncharacteristic for Phish or for Bonnaroo — even diehard Phish heads, rain dripping down their faces, seemed relieved that they could finally turn off the adrenaline that kept them going for 96 hours. If you were there, you get it. If not, well, where the heck were you? If the festival’s many accolades — named as one of Rolling Stone magazine’s “50 Moments That Changed Rock & Roll,” “Festival of the Decade” by Consequence of Sound and among the 10 Best Festivals by GQ — isn’t enough to get you to the farm, maybe these 11 moments will inspire some FOMO for next year: #10. Mac Miller Slimes Bonnaroo Mac Miller decided Bonnaroo was the perfect place for his first live performance of “On a Roll,” the initial track released from Pink Slime , his collaboration EP with Pharrell. #9. Flea Feels the Love During the Red Hot Chili Peppers’ scorching Saturday night set , bassist Flea clearly caught Bonnaroo fever, gushing, “I feel peace and love and kindness everywhere I walk around here.” He praised the weekend’s earlier performances from St. Vincent, Dumpstaphunk, Santigold and the Roots, calling Radiohead’s Friday night set “so f—ing beautiful.” As if his bass playing isn’t impressive enough, he deftly made his way across the stage in a handstand. #8. Alice Cooper Shocks With — Gasp! — Pop! Fittingly, the most-stunning moment of the weekend came from legendary shock rocker Alice Cooper. A crowd of confused metalheads weren’t sure how to react when Cooper ended his set with an homage to Lady Gaga, owning her freak anthem “Born This Way.” #7. Wandering While any Bonnaroovian will tell you that figuring out ways to better your festival is an ongoing project, as experience informs improvements year after year, it only takes a weekend or two to learn the three basics of Bonnaroo: water, sunscreen and if you’re not totally digging where you are, change locations. There are infinite options for fun. Keep walking till you find yours. #6. Radiohead Tease Thom Yorke created quite the buzz during Radiohead’s Friday night set with a cryptic dedication. Before their new track “Supercollider,” Yorke declared, “This song is for Jack White. We saw him yesterday. A big thank you to him, but we can’t tell you why. You’ll find out.” Sounds like a collaboration, no? #5. Kenny Rogers Goes ‘All Night Long’ Kenny Rogers might have had the biggest Sunday of any of the nearly 80,000 music fans that packed the farm. After being presented the key to Manchester, Rogers was joined onstage by Lionel Richie for “Lady.” Richie then took center stage for “All Night Long.” Sunday night, Rogers later took his turn guesting, joining Phish onstage for his day’s second performance of “The Gambler.” #4. D’Angelo Emerges There could have been no better way for D’Angelo to emerge from hibernation than joining Questlove for an early morning Bonnaroo “Superjam.” Backed by a nine-piece band for his first U.S. performance in over a decade, D’Angelo was onstage for over an hour, lending his neo-soul flavor to Jimi Hendrix’s “Have You Ever Been (to Electric Ladyland),” the Beatles’ “She Came In Through the Bathroom Window” and Led Zeppelin’s “What Is and What Should Never Be.” #3. Beach Boys Bring ‘Good Vibrations’ No matter what mood soggy campers woke up in, the cloudy skies Sunday afternoon couldn’t dampen the pure joy of the Beach Boys’ sun-drenched classics. “Kokomo” had the rain-weary dreaming of bringing their loves to Aruba or Jamaica to get away from it all. #2. Phish Makes it Rain Long credited by the festival’s organizers as providing the blueprint for the event with their homegrown parties in the Northeast, Phish is the undisputed ultimate Bonnaroo headliner. While, yes, they are wasteful plastic garbage, the shower of glowsticks during a Phish set just looks so darn purdy. Early in the second set, the neon rain during the “Can’t I live while I’m young?” refrain in “Chalk Dust Torture” signaled the crowd was ready for round two. #1. The Mud It happens every year, and the sooner you stop trying to stay clean, the happier you’ll be. Just like on Burning Man’s playa, inclement weather on the farm — coupled with lack of sleep — strips people down to their core. Any last bit of ego you were hanging onto was washed away hours ago. Bring pants that can be rolled up. Otherwise: Embrace the mud. Did you experience Bonnaroo 2012? Share your favorite moments in the comments below! Related Videos Bonnaroo 2012 Gets The Party Started Related Photos 2012 Bonnaroo Music And Arts Festival Related Artists D’Angelo Phish The Beach Boys

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Bonnaroo 2012: 11 Moments You Missed (But We Didn’t!)

A Surprising Cannes Title? Madagascar 3 Animates the Croisette

Undoubtedly there will be tons of photographers and screaming fans outside as Ben Stiller, Jessica Chastain, Chris Rock, Martin Short, Jada Pinkett-Smith and David Schwimmer ascend the steps at the Palais des Festivals for the world premiere of their latest film. And it will be the best look at them that the crowd will have all night, particularly since they won’t be onscreen — the movie is Madagascar 3: Europe’s Most Wanted . The latest DreamWorks Animation effort may seem like a surprising fit for Cannes, usually perceived as the stomping grounds of the world’s great auteurs, but the festival has long embraced mass Hollywood releases on the cusp of their blockbuster rollouts. In 2005 Cannes hosted Star Wars: Episode III Revenge of the Sith and even piped over a massive sound system Darth Vader breathing along the Croisette in the hours leading up to the movie’s zany red carpet premiere. And from Shrek to Kung Fu Panda 2 , DWA has wrangled frequent Cannes premieres complete with screaming fans and all the festival trimmings. “This is my first time here in Cannes. To have my voice in Cannes is a good first step to actually being in a movie here,” Ben Stiller, who voices the lion character Alex, said to laughs Friday. Co-director Tom McGrath voiced a bit of trepidation about the likes of Madagascar (which is screening out of competition) with the likes of others in the Official Selection including the latest from David Cronenberg ( Cosmopolis ), Jacques Audiard ( Rust and Bone ), Abbas Kiarostami ( Like Someone in Love ) and Walter Salles ( On the Road ). “We went to opening night and saw our cartoon [in a montage of Cannes films] and we thought, ‘Do we deserve to be here?'” McGrath said. “But the great thing about Cannes is that it’s a festival for all kinds of films – and this is a film about traveling through Europe, so what better place?” The third installment of the Madagascar franchise finds the lion Alex (Stiller), Marty the zebra (Rock) and the rest of the gang trying to find a way to return to their beloved New York City (you may have had to see the first two installments to get that one, but just go with it). Their quest takes them through Europe, landing in Monaco of all places in the famed casino. They find a perfect cover: A traveling circus, which naturally introduces new characters to the mix. “I auditioned for this part, and I was so happy when I got the part,” said Jessica Chastain who plays a seductive jaguar in the feature. “I’m an actor who wants to do all kinds of things.” “It’s a very difficult thing to do,” McGrath said about voicing movie animation. “You have to project that you’re running in your voice when you’re sitting in a studio and you have to change emotion. That’s hard to do when you’re only behind a microphone.” Added Chastain, “I hadn’t done anything before in which I didn’t work with another actor.” Still, the group said the medium allows for the actors to take time and not feel the pressure of time when working with a large crew, allowing them to workshop their characters to a degree, which was one creative appeal for taking part in Madagascar . But there was also another. “Cash!” said Rock. “And it was a lot of fun.” Read more of Movieline’s coverage of Cannes 2012 here .

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A Surprising Cannes Title? Madagascar 3 Animates the Croisette

Cannes: Where Are All the Tacky Movie Ads?

Long queues formed outside the Palais des Festivals this afternoon in Cannes as attendees mobbed the building waiting to pick up their credentials. Marilyn Monroe presided over the scene; the now familiar image of the legendary actress blowing out a candle is this year’s official image/poster of the 65th Festival de Cannes, which kicks off tomorrow evening with the debut of Wes Anderson’s Moonrise Kingdom , the first of 12 nights of red carpet premieres. While Marilyn adorned the facade of the Palais, the hive of festival activity, a quick stroll down the seaside Blvd de la Croisette revealed a tiny surprise at least perhaps for those who return year after year. There are surprisingly little in the way of gaudy movie ads covering some of Cannes’ beachfront hotels, usually a festival staple. Even the historic Carlton Hotel at the center of the Croisette, which is usually peddling any and all so-called movies from anything playing in the Official Selection to the Cannes Market or — hey, even if it’s not in Cannes, who cares — would cover its ornate facade. But unless crews are simply behind in their schedule, the hotel was surprisingly free of its usual tacky ads. What happened? True, the economy is flat in France and with today’s inauguration of the country’s first socialist president this century, speculation has arisen in Europe whether Germany and their Gaullist partners will be able to maintain a united front for austerity. And of course, the political crisis in Greece has meant a steady decline in the Euro. Perhaps not great for Europe, but a small windfall for hordes of Americans attending the festival. But this is Cannes and the marina is still packed with zillion dollar yachts and the cafés are still jammed with people buying over-priced fare. But perhaps there has been some shift. Deadline reported that studios are cutting back on galas, preferring cheaper regional fetes to the estimated $1.5M to $3M price tags that Cannes can command. So, maybe those normally ubiquitous treats featuring the latest project starring Paris Hilton or Jean-Claude Van Damme or whoever will be less of a visual assault this year. Still, the Carlton is not ads-free. The ever-ubiquitous dictator himself, Sacha Baron Cohen , greets guests with his military finest. Tom Cruise ‘s mug adorns the hotel’s outdoor café for his December thriller One Shot , directed by Christopher McQuarrie (incidentally, he is also the writer for Top Gun 2 ) and Spidey, as in The Amazing Spider-Man , sits squarely near the hotel’s roof. Of course, it’s not just the Carlton that cashes in on their prime location blaring out their sponsors’ wares for top doll– err, euro. Brian De Palma’s Passion received some recent press after an image of stars Rachel McAdams and Noomi Rapace moving in for a smooch hit the internet. Their sexy rendezvous covers two floors of a nondescript Croisette building, while Quentin Tarantino’s Django Unchained reigns over a prominent spot very close to the Palais in front of the chic Majestic Hotel. A quick scan at the credits confirms that Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson are in fact still starring in the film… Stay tuned for more reports from the Cannes Film Festival. Follow Brian Brooks on Twitter . Follow Movieline on Twitter .

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Cannes: Where Are All the Tacky Movie Ads?