Celeb Sightings: Though not appearing in any films this year's Cannes selection, Johnny Depp and Vanessa Paradis went out for a surprise concert by Patti Smith. Michelle Williams smiles as Harvey Weinstein begins his Oscar campaign for her and Ryan Gosling's performances in Blue Valentine. Penelope Cruz, meanwhile, is avoided the red carpet photo mayhem to "not upstage her man" (that man is Javier Bardem). There are Cannes attendees who could fight the Cat Lady for worst plastic surgery ever (comparison shots for reference). And no celeb news is complete without the Lindsay Lohan, who could get into some hot legal water when she misses a mandatory court appearance this week after losing her passport while partying at the festival. Maybe they'd let her slide ... if she didn't lose it while partying. Swift move, Lindsay.

Our Coverage: The latest review to hit the pile is Quentin Dupieux's Rubber, which Joe Utichi calls: "one of the oddest films in this year's Cannes collection. A tale of a tire rumbling through the desert whose psychokinetic energy can cause heads to explode, it's odd from concept on, and goes out of its way to ensure we've never seen anything quite like it before."

Deals: The SXSW thriller Brotherhood has been picked up by Phase 4 Films while at Cannes. The plan is to release Will Canon's film later this year. IFC is also going into buying mode, grabbing the US rights to both Xavier Dolan's Heartbeats and Antoine Blossier's Prey for dual their usual theaters/on-demand platform. And Match Factory has picked up The Future, by Miranda July.

News: Juliette Binoche talks to New York Magazine about her new movie and fighting to save friend Jafar Panahi: "No artist should be imprisoned in their own country. The country needs the artists and intellectuals in order to have a point of view. If it's only the political view, then it's impoverished and false ..."

Weinstein might be doing his best to drum up buzz for Valentine, but the film is doing that all on its own. After wooing Sundance, it has played well to the Cannes audience. Bonus: Director Derek Cianfrance talks to Movieline about their bad review from Utah and how he loves it.

IFC's Independent Eye discusses some of the many controversies bubbling during this year's fest, like Panahi's new hunger strike.

Olivier Assayas' new film, Carlos, got only one screening session this year, mainly because it's a massive "Bourne Identity with more substance" that is many hours long and divided into three segments. (Hint: It will be airing on French television.)

Also, Canadian filmmakers Atom Egoyan and Xavier Dolan talk Canadian cinema at Cannes and Yun Jung-hee, a veteran South Korean actress, returns to Cannes with Lee Chang-dong's Poetry.

indieWIRE Love: Day 8 has already wrapped, and Cannes is flying right by. Xavier Dolan is making the rounds for his second feature, Heartbeats, noting: "Talking is not art anymore. It's promoting art. Since I do movies out of ignorance, I don't think so much about my movies until I'm asked about them." Eugene Hernandez offers up a mid-fest roundup, and last, but not least...

Todd McCarthy got to check out the Assayas epic, and reviews: "Never dull or slack and crammed with so much incident, character and detail you can't possibly soak it all in as it charges past you, Carlos enters deep and dangerous waters as it takes on biography (of a still-living figure), international politics, terrorism, history, religion, sex and much more and handles all the issues with staggering dexterity, intelligence and skill. It's terrific."
CATEGORIES Cinematical