January 23, 2020
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Horned Flicks

Horned Flicks
The Festival International du Filme in Cannes takes place annually in May but, in a sense, goes on forever. It is the world’s greatest picture show. That is because it is of such importance artistically, and as business, it attracts talent and effort, investment and innovation of an extraordinary order. So, simply put, this small town on the French Riviera determines the course of world cinema.

For the event this May, Cannes’ selection panels in five major sections saw 1,800 films—about half of them features from 76 countries and the other half, short films. Just 22 features were chosen for main competition for the Palme d’Or (Golden Palm), 16 of them world premieres, and a like number in the section for independent, more experimental films, Un Certain Regard (Worth a Look).

We watched a movie in which a horned monster incinerates people with his breath—an animated film for kiddies and their folks featuring an ogre who befriends a talking donkey who, in turn, attracts a girl dragon, two films turning on evil emanating from computers, one on masochism with razor blades used by a stern piano teacher, etc. A lot of it made the explicit sex that one also saw, whether straight or homosexual, seem a little like a parents’ day tea party.

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