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Loach 'Shakes' up Palme d'Or
'Flanders' takes Grand Prix
by Todd McCarthy 05/28/06 2:45 pm
Honoring one of its favorite veteran auteurs rather than one of the numerous young turks on the scene, the Cannes Film Festival awarded the Palme d'Or for 2006 to British director Ken Loach for "The Wind That Shakes the Barley."

Do Croisette pic promos pay off?
Despite boos, execs find reason to screen
By Nicole LaPorte, Ian Mohr 5/28/06 6:00 am

Even in a dull year, Cannes fest features small discoveries
Selections prove uneven
by Todd McCarthy 05/28/06 6:00 am

Palme pix on road to Morocco
N. African country nurses film biz
By Ali Jafaar and John Hopewell 05/25/06 8:20 am

More Asian faces seen at Cannes
Bizzers creating buzz at fest
By Patrick Frater 05/25/06 11:25 am



The Wind that Shakes the Barley The Wind that Shakes the Barley
Palme d'Or winner
Two Irish brothers are torn apart by the anti-Brit rebellion of the '20s in a studiously sincere film by veteran helmer Ken Loach and scripter Paul Laverty in which the human drama increasingly gets lost in the political. Tastily lensed by ace d.p. Barry Ackroyd and with a convincing cast led by Cillian Murphy.

Flanders Grand Prix winner

Volver Screenplay, actress winner
Pen-Ek
Ratanaruang reps a new generation of Thai helmers whose films travel the fest circuit. His latest, 'Invisible Waves,' played Berlin. Prepped to pop
By Patrick Frater 5/23/06

Geographically it's easy to identify where Southeast Asia lies on the map. Economically, though, the region is wildly diverse, ranging from the highly organized and super-high-tech Singapore to isolated and desperately poor Myanmar.

Auraeus Solito’s 'The Blossoming of Maximo Oliveros' tackles modern issues with a neorealist lens.
New attitudes give Philippine biz a boost
Digital technology, government support, new facilities and a sense of adventure in local filmmakers conspired to give the Philippine industry a shot in the arm. The government pushed for a reduction in amusement taxes from city mayors. President Gloria Macapagal-Arroyo also cracked down on piracy, instituting tougher laws and stricter penalties.
 'King and the Clown,' a moderately budgeted period film about a love triangle between a mad king and two court jesters, rocketed to a record $83 million in South Korea.
Auds ignore quota cuts
Is the Korean film industry firing on all cylinders, or stricken with a case of irrational exuberance? That is the question as the year 2006 adds even more superlatives to the recent performance of Korean cinema. As money pours into the biz, production is booming, setting off a mad scramble for experienced crew members and equipment (producers have taken to borrowing cameras from Japan and China).
Greater independence from Euro backing arose in response to a surge in production after a series of economic crises and social and populist movements. 'When there are times of crisis or change, there are (stories) to tell, and quality movies come out of it,' says Lita Stantic, producer of Paz Encina’s 'Hamaca Paraguaya,' which is in competition at Cannes.
Strength in numbers
Increasingly, Latin American producers are trying to reduce their reliance on Euro prod'n coin, giving them greater independence and speeding up the assembling of finances. It's also a safety net if Europe's co-producing interests shift to other territories. Argentine helmer Sergio Mazza typifies this new approach with his feature, "Triple Frontera" (Triple Border), with producers from countries in Mercosur.


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