When you hear journalists at Cannes bemoaning a lack of outlets, it turns out that, for once, they're not talking about firings and cutbacks in paying gigs; rather, they're talking about the crowded push of the Orange WiFi Press Cafe, where getting a socket to plug into between screenings is well-nigh impossible. That's the press room pictured above; not shown is the upper deck, to the right, crowded with couches and journalists sprawled on the floor with their laptops. At its busiest, the WiFi Cafe looks something like a Civil War hospital, if Gettysburg's fallen had carried laptops and cameras instead of rifles.

It seems hard to imagine it's only the second day of the Festival, but it is; journalists and filmmakers are still coming into town, and the tempo of buzz and anxiety is speeding up subtly under the stately glide of stars down the red carpet. I actually wound up, bizarrely enough, at the Kung Fu Panda press screening -- Kim had to cover the Blindness press luncheon -- and, as I said in my review, "Of course, I may be a little inclined to have liked Kung Fu Panda as it made for a bit of a break; my Cannes viewing before this morning's Kung Fu Panda screening included two stabbings, a riot, several acts of sexual aggression, a few beatings, assault with a deadly weapon, family tension, grinding poverty and child endangerment. (That's not the breakdown for the films before Kung Fu Panda, just to clarify; that's the breakdown for the film before Kung Fu Panda.)" Still, I was able to get out and about to take in the scene today; you'll find the gallery below, with more from the shore to come when I can find a place to plug in for my next Cannes dispatch.

Perhaps the best thing about Kung Fu Panda is that it's an action comedy that doesn't skimp on the action. Dreamworks Animation's latest effort may stick out a little on the Red Carpet at Cannes -- where it's screening out of competition -- but it's certainly a well-made kid's film that earns high points for how directors John Stevenson and Mark Osborne clearly crafted and contemplated its look and feel with ambition and style. Anyone can make a computer-animated cartoon with fuzzy animals doing kung fu; you have to be at least a little inspired to make a computer-animated cartoon featuring fuzzy animals doing kung fu in widescreen Cinemascope. ...

Kung Fu Panda opens with a rousing, stylish action sequence, as a narrator (Jack Black, in full-on Tenacious D exposition mode) explains how "Legend tells of a legendary kung fu warrior whose kung fu skills were legendary. ..." But then, the heroic panda we've seen unleashing paws of power on the big screen ... wakes up; it was just a dream. Then Po the panda (Black), whose dreams of kung fu glory are the counterpoint to his unsatisfying life, gets ready for his day of helping his father Mr. Ping (James Wong) sell noodles to the people of the Valley of Peace.

Waltz With Bashir, the first official trailer from cinemascopian.com on Vimeo.

An early Cannes favorite, Cinematical's Kim Voynar describes Waltz with Bashir as a "beautiful, disturbing and deeply compelling film" that "could wind up with an Oscar nod come January." The animation looks stunning (love the gold in those beach scenes), and I'd definitely agree with Spout's Karina Longworth who calls it "Grand Theft Auto: Beirut, Meets A Scanner Darkly" in the title of her post showcasing the trailer above. More from Kim's Cannes review: "Waltz with Bashir documents the struggle of the filmmaker, Ari Folman, to come to terms with the gaps in his memory surrounding the part he played in the first Lebanese war and the 1982 massacre of Palestinian civilians in the West Beirut refugee camps of Sabra and Shatila."

Whaddya think?

Bonjour! Before I run out to the luncheon and roundtable for Blindness, I thought I'd get up a gallery with some scene pics around the festival and the lovely town of Cannes. I hope they'll give you something of a feel for what it's like to he here.

Cannes is a beautiful city -- lots of old buildings and winding streets, little shops, cafes and restaurants. There's so much to see and do here (besides, of course, watching tons of fabulous films) -- between the view of the Mediterranean Sea, the boats and yachts in the harbor, the islands off in the distance, and the people in designer clothing and fancy cars, it's a bit overwhelming to the senses.

Later in the fest, I plan to get out to wander through the Old Town area of Cannes, and hopefully will take the ferry across to at least one of the islands -- either the Île de Saint-Honorat, which houses a monastery, or the Île Sainte-Marguerite, where the Man in the Iron Mask was held captive. Later tonight or tomorrow, I'll also post some photos of the black-tie folks heading to premieres. Until then, merci, au revoir!

The Cannes Film Festival got off to a kind of dark and depressing start, with two movies about the worst side of humanity screening. But hey, it wouldn't be a film festival without some nice movies about human suffering to brighten your day, right?

Seriously, though, we can see light-hearted rom-coms anytime; a festival like Cannes is where you go to see movies that make you ponder life, wax philosophical with friends about the use of voice-over in film and the deeper metaphorical meanings of this or that scene, and geek out over things like editing and cinematography.

The horrors of war and the atrocities of which humans are capable of have, of course, been documented extensively in film since the birth of the medium. From the recent slew of documentaries on the Iraq war to Atom Egoyan's controversial 2002 Cannes debut Ararat (about the 1915 massacre of Armenians in the Ottoman empire); from Schindler's List to The Killing Fields; from The Battle of Algiers to Apocalypse Now; from Ousmane Sembene's last film, Moolaadé (inspired by the genital mutilation of young girls in Burkina Faso) to The Devil Came on Horseback (a documentary chronicling the genocide in Darfur), recent cinematic history is filled with tales of human suffering, inflicted not by natural disasters, but by human beings upon one another.

Waltz with Bashir documents the struggle of the filmmaker, Ari Folman, to come to terms with the gaps in his memory surrounding the part he played in the first Lebanese war and the 1982 massacre of Palestinian civilians in the West Beirut refugee camps of Sabra and Shatila. Where Marjane Satrapi's Persepolis (to which this film will be inevitably, if somewhat inaccurately, compared) used stark black-and-white animation based on Satrapi's graphic novels to tell the history of one girl growing up during the Iranian revolution, Waltz with Bashir uses vivid, hand-drawn animation to bring to life interviews Folman conducted with friends who were involved in the Lebanese war in the early 1980s to bring to life harrowing memories of death, guilt and regret.

The deals are already flying fast and furious in Cannes. As befits an international marketplace, most of the action involves far-flung territories, but we're keeping an eye out for US distribution deals too. indieWIRE has a great round-up of the first day's activity, which includes the news that IFC Films has acquired distribution rights to two films.

Good buzz about 24-year-old Joshua Safdie's feature debut The Pleasure of Being Robbed began when it world premiered at SXSW in March. Somehow, the Cinematical crew missed seeing it (hey, we're only human, we miss things sometimes), but David Lowery at Spout raved: "It's pure cinema, and as such it's one of the best films I've seen this year." The comedy revolves around a kleptomaniac, played by co-writer Eleonore Hendricks, with a philanthropic streak. Pleasure is the only US title in the Director's Fortnight this year.

In 2005, Tom Hall declared: "There is not a more important filmmaker working today than Arnaud Desplechin." He previously made Kings & Queen and Esther Kahn, among other critically-acclaimed work. The French filmmaker's latest, A Christmas Tale (Un conte de Noël), features Catherine Deneuve, Jean-Paul Roussillon and Mathieu Amalric "in a contemporary family drama set in France." The film plays in Official Competition and has its first screening on Friday night before opening theatrically in France next week.

We'll have to wait to hear about IFC's specific plans for distribution.

This morning James and I and a couple thousand other press folks took in a screening of the Opening Film at Cannes 2008, Fernando Meirelles's Blindness, starring Julianne Moore, Mark Ruffalo, Danny Glover and Gael Garcia Bernal. You can check out James' review here, and tomorrow I'll be attending a luncheon/roundtable for the film. And in related Cannes news, Jack Black arrived at the 2008 Festival de Cannes in style. He's here to promote Kung Fu Panda, which premieres later in the week. Check out our gallery of Black and tons of panda bears down below.

Meantime, though, my take on Blindness is that it's ambitious and good, but falls short of being great. In part, I think, this is because the source material was challenging to adapt to a visual experience, but it's also due to some clunky expositional voiceover that detracts from the experience more than it adds. I don't want to be told how this or that person feels or reacts, I want to see it.

Wanna know what's going on in Cannes 24 hours a day? Bookmark this post and keep it tuned into the gallery below for up-to-the-minute images all throughout the fest.

Fernando Meirelles's new film Blindness begins with the rush and push of urban life; traffic, crowds, activity, purpose. And then, one man cries out: "I'm blind." He eventually makes it to an ophthalmologist, but there's nothing physically wrong with his eyes; he simply can't see. "It feels like I'm swimming in milk," he explains, and we see, through his eyes, the blank, empty swirl of what used to be the world. And then another person says they are blind, and then another, and soon those few, frightened voices form a chorus of chaos as "the White Sickness" spreads like wildfire and leaves a ruined world in its wake.

Adapting Nobel Prize winner Jose Saramago's novel, Blindness feels like a curious mix of highbrow literary aspirations and lowbrow genre fiction; as the White Sickness spreads from person to person in a clear chain of connection and things fall apart, it'd be easy to dismiss Blindness as Dawn of the Dead for NPR listeners or Outbreak for grad students. Meirreles has taken a similar two-pronged approach before -- The Constant Gardener is an excellent critique of the failings of modern capitalism that also works as a strong, suspenseful thriller -- and while Blindness may not work as well as that film, it's also a clear case of a film, and filmmaker, failing to hit the mark occasionally only because they've set the bar so high for themselves.

Cinematical has received two brand new exclusive Blindness images ahead of the film's world premiere tonight at the 2008 Festival de Cannes. Directed by Fernando Meirelles (The Constant Gardener), Blindness was selected as the opening night film for this year's Festival de Cannes, and it stars Julianne Moore as the wife of a doctor (Mark Ruffalo) who suddenly becomes the only one who can see in a town where everyone is struck with a mysterious case of blindness. Based on the novel by José Saramago (adapted by Don Mckellar), Blindness also stars Gael García Bernal, Alice Braga and Danny Glover.

Cinematical is on the ground in Cannes, and both James and Kim have already seen Blindness. We'll have our review of the festival's opening night film later on in the day. Check out our second exclusive photo below, then head to the gallery for more. Blindness arrives in theaters on September 19.

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James Rocchi and I got into Cannes late this afternoon after a rather adventurous journey that included my flight being delayed, first by a medical emergency on the incoming plane I had to get on to get to Detroit, then by an unauthorized passenger being on my plane (how the hell does that happen in this day and age? I have no idea ...). Those delays very nearly caused me to miss my connection to Amsterdam, and then I realized when I got to the gate that I'd lost my boarding pass. Yes, I am officially the world's biggest travel dork. I did make the flight, though, and then James and I were treated to a screaming infant in front of us for the eight-hour flight to Amsterdam. Whew. Fortunately I brought my travel Scrabble to keep us busy.

We finally got to Cannes and found our flat. Thanks to James and his travel ingenuity, we have a lovely flat with a terrace that has a teensy view of the Mediterranean Sea and the all-important wifi connection. Once we dumped off our ten tons of luggage and freshened up, we were off to the Palais de Festival to collect our press badges. We managed to take a slew of pics of movie posters while enjoying the nice 20-minute walk from our flat, and spotted Juliette Lewis and Danny Glover strolling the Croisette.

James Rocchi and I got into Cannes this afternoon, checked into our flat, and then promptly headed out to the Croisette to get our press badges and take a slew of pics. Movie posters abound on the Croisette. They're draped on luxury hotels and adorning the sidewalks; pretty much everywhere you look, it's movie marketing central around here. I'll have a Live from Cannes post up later with some other pics of the Cannes scene and the lovely Croisette, but in the meantime, here's a bunch of movie poster pics for your viewing pleasure.

We'll be up bright and early tomorrow to catch the opening film, Blindness, and we'll be posting regularly throughout the fest, so keep checking back for more. Let us know what you're most interested in hearing about from the fest, and we'll do our best to oblige.

If I had one wish and one wish only, I think I'd like to be Javier Bardem throughout the duration of filming Vicky Cristina Barcelona, the latest film from writer-director Woody Allen. A new trailer for the flick has just debuted over at Moviefone, and while it's kinda hard to make out what's going on in the movie (there's no dialogue; just music), this definitely looks steamy, romantic, dramatic and, ahem, hot. Starring Javier Bardem, Scarlett Johansson, Penélope Cruz and Rebecca Hall, Vicky Cristina Barcelona marks Allen's first film shot in Spain and it revolves around a painter (Bardem) who winds up "involved" with two American tourists (Johansson and Hall). Cruz plays Bardem's jealous ex-girlfriend, and if the final shot of the trailer is any indication, she definitely takes her jealousy to the next level.

Based on early buzz, there's apparently a sexy threesome scene between Bardem, Johansson and Cruz in the film, as well as a little back-and-forth kissing between Johansson and Cruz (which is teased in the preview). Needless to say, the 2008 Festival de Cannes is the perfect place to premiere such a film -- and our own James Rocchi and Kim Voynar are currently on the ground in France, itching to bring you tons of coverage later this week (including a review of this seductive-looking film).

Check out the trailer above (or over on Moviefone) and let us know what you think below. Vicky Cristina Barcelona arrives in theaters on August 29.