Cannes and elsewhere, 4/26.

Many expected to see Hou Hsiao-hsien's Red Balloon lined up in the Competition at Cannes; instead, it will open Un Certain Regard on May 17. With the addition of Roy Andersson's You, The Living and Ana Katz's Una Novia Errante in that program and a special screening of Mehdi Charef's Cartouches Gauloises on an evening devoted to Algeria, Artistic Director Thierry Frémaux has finalized the Official Selection.

At indieWIRE, Eugene Hernandez has the lineup for the International Critics' Week sidebar. The Hollywood Reporter's Rebecca Leffler detects "a taste of Latin America with a French twist."

Adam Nayman previews the Polish Film Festival Los Angeles, tomorrow through May 3. Guess which David Lynch film they'll be screening.

Also in the LA Weekly, Holly Willis on the work of Larry Gottheim, whose work will be screening at the Los Angeles Filmforum on Sunday and at REDCAT on Monday.

More LA goings on: Robert Abele in the Los Angeles Times.

"As two films screening [in Edmonton] on the eve of May Day show, seemingly distant labor struggles can hit close to home," writes Brian Gibson in Vue Weekly. The films: Mother Jones: America's Most Dangerous Woman and Lockout 484, both by Laura Vazquez and Rosemary Feurer.

"This Day is a series of programs of short films and videos featuring international artists whose work relates to the Middle East within a cultural, social, historical and political context." May 4 through 13 at the Tate Modern in London.

"The Maison Du Japon in Paris, France will be the home of a rather impressive retrospective of one of Japan's most acclaimed cult directors, Seijun Suzuki," reports Aaron at Kung Fu Cult Cinema. May 31 through June 30.

Anthony Kaufman's "The Premieres Race; Rival Fests (Tribeca, SXSW, LAFF) Put Pinch on Filmmakers and Regional Showcases" at indieWIRE has sparked some thoughts from AJ Schnack and Andy Spletzer.

Today at indieWIRE, Jonny Leahan looks back on the highlights of the just-wrapped Sarasota Film Festival.

And Sam Adams looks back to Full Frame in the Philadelphia City Paper.

Posted by dwhudson at April 26, 2007 12:58 PM