What's been happening in Cinema recently?

I'm glad that there's been some debate going on about what I wrote in my first entry on the cinematic canon. The fact that for many readers, the developing 'cinematic canon' is minuscule and insignificant when compared to the literary canon, and by even having the word 'canon' in the term, it substantially devalues the 'literary' counterpart.

There was also passionate opposition to the notion of the cinematic canon being composed of, or rather being informed by, annual award ceremonies such as the competitive international film festivals (Cannes, Venice, Berlin and others) and the Academy Awards / BAFTA / Cesar etc. Indeed, I do agree that these ceremonies are flawed (I mean, how could the daft Julia Roberts in Erin Brockovich win Best Actress Oscar over Ellen Burstyn in Requiem for a Dream, or even Björk in Dancer in the Dark, whom wasn't even nominated, in 2000? [I'm sorry if there are any J.Ro lovers out there, but this one always gets me.]{And no disrespect what-so-ever to director Steven Soderbergh, whose Sex, Lies, and Videotape was an instigator for the rise of American Independent Cinema in the late '80s.}) as they are judged by an exclusive group of 'experts'; in the year in which the film was released; amidst a detrimental whirlwind of media speculation, buzz and obsession. But what I do believe is that these ceremonies (and their respective awards) capture the spirit of judging a work of art (film) from an objective and collective point of view; they record history; they tell future cinephiles what certain cinematic aesthetics/politics were valued in certain years, decades, generations, countries and cultures. Naturally, nothing can compare with the test of time, but what kind of criteria are we suppose to adopt when time is not an option at all?

Moreover, these ceremonies can do something functional which no 'literary canon' can do (unless of course, it's a modern literary canon) - they can inspire and motivate filmmakers (directors, screenwriters, actors, actresses, editors, art directors, costume designers, score composers etc) to strive for the 'best'; to adhere to the respective ceremonies' tastes and win awards, which in turn will provide the filmmaker with industry respect, recognition, and financial and artistic freedom - all of which when he or she is still alive.

I know, I know - I must come off like such a "fountainhead", but I have the utmost respect and admiration for the Oscars, Cannes, Venice and Berlin. And from watching films these 'friends' have recommended, I have been able to better develop my appreciation for cinema.

I do apologise for turning this, what was initially meant to be a loving announcement that the Cannes Film Festival for this year [13 - 24 May, 2009] has begun this week, into an anti-Julia Roberts rant.

Anyhow... so...

... yes, the festival has begun, and check out this video of the official jury, headed by Isabelle Huppert, in a media conference discussing how they will approach 'judging' the films of The Official Selection. (http://www.festival-cannes.com/en/mediaPlayer/9721.html)

Also, please have a look at this trailer for a film called Precious, directed by Lee Daniels, which was featured in the Un Certain Regard section. (http://www.traileraddict.com/trailer/precious/trailer)

And last, but not least, have a glance at this fellow-blog which proves that I'm not the only who has a 'thing' for Ms Roberts. (http://eddieonfilm.blogspot.com/2007/01/top-10-worst-best-actress-winners.html)

But before I close, I just want to express my gratitude and joy that Dancer in the Dark, by Lars von Trier, won the Palme d'Or and Björk the Prix d'interprétation féminine at Cannes in 2000. The film dissects time-honoured conventions of the musical and melodrama genres to a devastating effect, and Björk, like von Trier, who is equally loathed for her eccentricity, brings an emotional vocabulary to her performance.