As I always do around this time of year, I have attempted to round up as many posters as possible for the films in competition for the Cannes Film Festival's Palme d’Or. Not an easy task, given that some films may barely have finished a final edit before the print (sorry, hard drive) is couriered to the Croisette, so key art may be the last thing on a producer’s mind.
The competition is full of both usual suspects (Loach, Almodóvar, Assayas, the Dardennes, Brilliante Mendoza) and some nice surprises (like the long-awaited follow-up to Neighboring Sounds by Kleber Mendonça Filho, and the first feature film in a decade from the 77-year-old Paul Verhoeven). I am especially pleased to see new films from two of my favorite filmmakers, Andrea Arnold and Maren Ade, as well as the two great Romanian auteurs Cristian Mungiu and Cristi Piui.
This year however I have managed to find fewer posters than ever: for only 10 of the 21 films competing. The highlight by far is this illustrated Korean poster (artist to be determined) for Park Chan-wook’s The Handmaiden, a poster that is even more beautiful and intriguing when you can see its details and textures up close.
If more posters turn up in the days leading up to the festival (it starts next Wednesday), I will add them. In the meantime, here are the rest in alphabetical order.
Still missing in action:
I, Daniel Blake by Ken Loach (UK)
La fille inconnue by Jean-Pierre and Luc Dardenne (Belgium)
Loving by Jeff Nichols (USA)
Ma' Rosa by Brillante Mendoza (Philippines)
Mal de Pierres (From the Land of the Moon) by Nicole Garcia (France)
Paterson by Jim Jarmusch (USA)
Rester Vertical (Staying Vertical) by Alain Guiraudie (France)
The Last Face by Sean Penn (USA)