. REALITY, de Matteo Garrone (Em Competição)
«Experimentamos muito com a luz e a música do filme. A grande maioria dos cenários foi inteiramente reconstruída. Existe uma fronteira ténue entre sonhos e realidade, embora nos tenhamos assegurado de que nunca abandonaríamos a mensagem principal do argumento», Matteo Garrone, sobre a natureza fabuladora de REALITY, durante a conferência de imprensa.
«There are enough "ah-ha" moments here to impress any student of film. But in the end, it's the rich and fascinating world created by Garrone through his characters that make this such a rewarding experience», Ryland Aldrich in Twitch.
«Matteo Garrone's watchable satire on reality TV is played with gusto and heart — though is fundamentally a little predictable», Peter Bradshaw in The Guardian.
. PARADIES: LIEBE, de Ulrich Seidl (Em Competição)
«Isso não é o principal do filme. A positividade, negatividade, optimismo, pessimismo, não importam. Tentei expressar, acima de tudo isso, os sentimentos de isolamento e solidão da protagonista», Ulrich Seidl, confrontado com o pessimismo de PARADIES: LIEBE.
«It is a grotesque, draining experience», Sasha Stone in Awards Daily.
. MEKONG HOTEL, de Apichatpong Weerasethakul (Fora de Competição)
«It's an interesting though admittedly indulgent exposition of some characteristic ideas by the Palme d'Or-winning director, the kind of thing that really could only be seen at a festival — and perhaps only Cannes, at that», Peter Bradshaw in The Guardian.
. MÜLL IM GARTEN EDEN, de Fatih Akin (Fora de Competição)
«Campaigning documentary on a mismanaged Turkish waste-disposal site will quickly seep into eco-minded festivals», Neil Young in The Hollywood Reporter.
. BEASTS OF THE SOUTHERN WILD, de Benh Zeitlin (Un Certain Regard)
«Horribly beautiful and deeply felt, the film is a spectacular example of how much more important imagination is than budget, and it may be the first great new fairy tale on film since CITY OF LOST CHILDREN», Drew McWeeny in HitFix.
. LAURENCE ANYWAYS, de Xavier Dolan (Un Certain Regard)
«This sprawling exercise in high camp is maddeningly self-indulgent in places, but also stylish and original enough to merit an Almodovar-style commercial breakthrough», Stephen Dalton in The Hollywood Reporter.
[Fotos: Site oficial do Festival.]
