It's a film one would like to love: Gus Van Sant's tender story of a young man, traumatized by the death of his parents, numbed and unable to connect, who learns to face death by falling in love with a dying pretty girl.

While artsy auteur films are the trademark of Cannes, some movies here have a less than lofty goal: to make money. The new Hong Kong 3-D erotic movie, 3D Sex and Zen: Extreme Ecstasy, is a case in point

Chastain, the winsome, fresh-spirited redhead who plays in two films at Cannes this year, is said to be the new rising star on the film scene.

While some critics have seen Habemus Papam as a heretical critique of the Catholic Church, the parody goes farther: behind all pomp and circumstance is an empty hole.

"I need three criteria to make a film," de France said with a full smile. "To like the character, to work with great directors, and to love the story. When Dardenne or Eastwood call you, of course you say yes."

Roger Corman is a mythic hero in the movie business for his indisputable achievements and generosity. Yesterday his generosity continued: at age 85, he gave a Master Class to young would-be American filmmakers on how to be a success.

Being with this director is like being with one of his films: a lot of pointed silence, interjected with unexpectedly whimsical funny lines.

First-time director Katia Lewkowicz wrote her film for him: Benjamin Biolay, one of the most popular contemporary singers in France. "He's captiva...

Gosling came to the table, lanky in a striped tank top, surprising me with his boyish and open manner, so different from the character he plays in the film.

Takashi Miike's new film Hara-Kiri: Death of a Samurai -- in three D -- starts with an intriguing (although unbearably long) ritual scene of hara kiri...

We were treated to two brothel films in the Cannes competition this year. Whether you understand it or not, Sleeping Beauty is a movie that gets under your skin.

The Dardenne brothers are an institution at Cannes: they have had several films in the competition in the last fifteen years, and have won the Palme d'Or twice: "We have a love story with Cannes."

Jean Dujardin does a memorable job in rendering emotion, his face either full of pride or despair. The other forte of this little gem is that its form never stops astonishing you.

Although he has perhaps destroyed his future at Cannes, Lars Von Trier's Melancholia is one of his best films. Von Trier exposes his inner wounds with wild imagination, and this is why he earns respect, despite his notorious provocative personality.