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Filmism.net Dispatch May 15, 2011

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I've been a bit out of the loop lately so don't have a real lot to talk about this week, but with the Cannes Film Festival in full swing and deals starting to emerge it got me thinking about how a big win at Cannes affects your movie.

You'd think winning the Palme d'Or would be your ticket to parties with starlets and fans coming up to you on the street asking for autographs second only to an Oscar, but you might be wrong.

I mean, we've all seen Pulp Fiction (1994 winner). Any movie geek worth his or her salt can still recite a good portion of Jules' (Samuel L Jackson) Ezekiel speech. And everyone who was anyone saw Fahrenheit 9/11 (2004 winner).

And if you're a film fan there's every chance you've seen Paris, Texas (1984), Sex, Lies and Videotape (1989) and Barton Fink (1991). Real movie purists have probably also seen Dancer in the Dark (2000) and The Wind that Shakes the Barley (2006).

But have you ever seen L'Enfant (2005)? How about The Class (2008)? Pelle the Conqueror (1988)? See what I mean? And L'Enfant was the second time Belgium's Dardenne brothers had won.

No, it seems the secret to a high profile, highly regarded career in film is still to make a fucking comic book movie. Even Kenneth Brannagh succumbed, and forget all the praise you've heard. Thor is just a comic book movie.

Another film I wanted to like a lot more than I did recently was the highly anticipated Source Code. It was a great idea with a few flaws that were too big to ignore and not nearly good as Duncan Jones' awesome first effort, Moon. I had much more fun watching Australian horror film The Loved Ones.

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