The 58th Cannes Film Festival started on 11 May and ran until 22 May 2005. Twenty movies from 13 countries were selected to compete; the awards were announced on 21 May. The Palme d'Or went to the Belgian film L'Enfant by Dardenne brothers; the festival opened with Lemming, directed by Dominik Moll and closed with Chromophobia, directed by Martha Fiennes. Cécile de France was the mistress of ceremonies; the following people were appointed as the Jury for the feature films of the 2005 Official Selection: Emir Kusturica Jury President Javier Bardem Fatih Akın Nandita Das Salma Hayek Toni Morrison Benoît Jacquot Agnès Varda John Woo The following people were appointed as the Jury of the 2005 Un Certain Regard: Alexander Payne President Betsy Blair Eduardo Antin Geneviève Welcomme Gilles Marchand Katia Chapoutier Sandra Den Hamer The following people were appointed as the Jury of the Cinéfondation and short films competition: Edward Yang President Chantal Akerman Colin MacCabe Sylvie Testud Yousry Nasrallah The following people were appointed as the Jury of the 2005 Camera d'Or: Abbas Kiarostami President Laura Meyer Luc Pourrinet Malik Chibane Patrick Chamoiseau Roberto Turigliatto Romain Winding Scott Foundas Yves Allion The following feature films competed for the Palme d'Or: The following films were selected for the competition of Un Certain Regard: The following films were selected to be screened out of competition: The following short films were selected for the competition of Cinéfondation: The following short films competed for the Short Film Palme d'Or: Tribute Documentaries about Cinema Restored prints The following films were screened for the 44th International Critics' Week:Feature film competition Short film competition The following films were screened for the 2005 Directors' Fortnight: Short films The following films and people received the 2005 Official selection awards: Palme d'Or: L'Enfant, by Jean-Pierre Dardenne and Luc Dardenne Grand Prix: Broken Flowers, by Jim Jarmusch Best Director Award: Caché by Michael Haneke Best Screenplay Award: Guillermo Arriaga for The Three Burials of Melquiades Estrada Best Actress: Hanna Laslo in Free Zone Best Actor: Tommy Lee Jones in The Three Burials of Melquiades Estrada Prix du Jury: Shanghai Dreams, by Wang XiaoshuaiUn Certain Regard Prix Un Certain Regard: The Death of Mr. Lăzărescu by Cristi Puiu Un Certain Regard Prix de l'intimité: Le filmeur by Alain Cavalier Un Certain Regard Prix de l'espoir: Delwende by S.
Pierre YameogoCinéfondation First Prize: Buy It Now by Antonio Campos Second Prize: Bikur Holim by Maya Dreifuss & Vdvoyom by Nikolay Khomeriki Third Prize: La plaine by Roland Edzard & Tiens toi tranquille by Sameh ZoabiGolden Camera Caméra d'Or: The Forsaken Land by Vimukthi Jayasundara & Me and You and Everyone We Know by Miranda JulyShort films Short Film Palme d'Or: Wayfarers by Igor Strembitskyy Special Mention: Clara by Van Sowerwine FIPRESCI Prizes Hidden by Michael Haneke Crying Fist by Ryoo Seung-wan Blood by Amat Escalante Vulcan Award of the Technical Artist Vulcan Award: Leslie Shatz for Sound design in Last Days Robert Rodriguez for Visual processing in Sin CityEcumenical Jury Prize of the Ecumenical Jury: Hidden by Michael Haneke Ecumenical Jury - Special mention: Delwende by S. Pierre YameogoAward of the Youth Lower City by Sérgio MachadoAwards in the frame of International Critics' Week Grand prix: Me and You and Everyone We Know by Miranda July Prix ACID: Grain in Ear by Zhang Lu Grand Prix Canal+: Jona/Tomberry de RostoAwards in the frame of Directors' Fortnight 3ème Label Europa Cinéma: La Moustache by Emmanuel Carrère Prix Art & Essai CICAE: Sisters In Law by Kim Longinotto, Florence Ayisi 3ème Prix Regards Jeunes: Alice by Marco Martins Prix SACD du court métrage: Du soleil en hiver by Samuel Collardey Prix Gras Savoye: À bras le corps by Katell QuillévéréAssociation Prix François Chalais Prix François Chalais: Once You're Born You Can No Longer Hide, by Marco Tullio GiordanaThe members of the Jury for the 2005 Official Selection competition INA: Opening of the 2005 Festival INA: List of winners of the 2005 Festival 2005 Cannes Film Festival Official website Retrospective 2005 Cannes Film Festival Awards for 2005 at Internet Movie Database
Pegs'n Co was a French software company that developed a traditional animation software package called Pegs, is now part of Canadian company Toon Boom Animation. It was based in France. Pegs was used for several animated feature films and television series, it powered the French animation industry until the 2000s as it was used by studios like Millimages and Animage, but it was used by studios in other countries, most notably Saerom Animation, CineGroupe, Mike Young Productions. In total, Pegs was used by over 100 studios worldwide. In 1991, Pixibox, a French animation studio, decided to develop its own ink & paint and compositing tools in order to make one of the first digital animated series, Peter et Sonia; the first version of Pegs was released under the name Pixiscan. In 1994, Pixibox began to market the product, the first Pegs licenses were sold. In 1997, following the acquisition of the company by Humanoids Group, Mediapegs was set up in order to handle the development and licensing of Pegs.
In 1999, a new version of Pegs for Windows NT was launched, which allowed users to animate with both bitmaps and vectors. In September 2003, after two uneasy years for the animation market, Mediapegs was forced to file for bankruptcy. After Mediapegs closed, four former employees grew concerned about the demise of Pegs and the future of professionals using the technology. Bolstered by the support of many within the animation industry, they decided to create a new company called Pegs'n Co. In June 2004, a new version of Pegs was released, Pegs'n Co enjoyed renewed success, taking part in Annecy's festival with a new version every year, being involved in feature films and numerous international shows. In 2006, Toon Boom acquired Co as part of its growth strategy. Since the acquisition, the software can no longer be purchased. Toon Boom Animation, which acquired Pegs'n Co and its Pegs package USAnimation Adobe Flash List of 2D animation software "Official website". Archived from the original on 2006-05-13.
Cinema Novo is a genre and movement of film noted for its emphasis on social equality and intellectualism that rose to prominence in Brazil during the 1960s and 1970s. It means "New Cinema" in Portuguese, the official language of Brazil, the movement's "home". Cinema Novo formed in response to class and racial unrest both in the United States. Influenced by Italian neorealism and French New Wave, films produced under the ideology of Cinema Novo opposed traditional Brazilian cinema, which consisted of musicals and Hollywood-style epics. Glauber Rocha is regarded as Cinema Novo's most influential filmmaker. Today, the movement is divided into three sequential phases that differ in tone and content. In the 1950s, Brazilian cinema was dominated by chanchada, big-budget epics that imitated the style of Hollywood, "'serious' cinema" that Cinema Novo filmmaker Carlos Diegues characterizes as "sometimes cerebral and ridiculously pretentious." This traditional cinema was supported by foreign producers and exhibitors.
As the decade ended, young Brazilian filmmakers protested films they perceived as made in "bad taste and... sordid commercialism... a form of cultural prostitution" that relied on the patronage of "an illiterate and impoverished Brazil."Cinema Novo became political. In the 1960s, Brazil was producing the most political cinema in South America. Brazil therefore became the natural “home of the Cinema Novo movement”. Cinema Novo rose to prominence at the same time that progressive Brazilian Presidents Juscelino Kubitschek and João Goulart took office and began to influence Brazilian popular culture, but it was not until 1960 that ` Cinema Novo' emerged as a label for the movement. According to Randal Johnson and Robert Stam, Cinema Novo began in 1960, with the start of its first phase. In 1961, the Popular Center of Culture, a subsidiary of the National Students' Union, released Cinco Vezes Favela, a film serialized in five episodes that Johnson and Stam claim to be "one of the first" products of the Cinema Novo movement.
The Popular Center of Culture sought "to establish a cultural and political link with the Brazilian masses by putting on plays in factories and working-class neighborhoods, producing films and records, by participating in literacy programs." Johnson and Stam hold that "many of the original members of Cinema Novo" were active members in the PCC who participated in the production of Cinco Vezes Favela. Brazilian filmmakers modeled Cinema Novo after genres known for subversiveness: Italian neorealism and French New Wave. Johnson and Stam further claim that Cinema Novo has something in common "with Soviet film of the twenties," which like Italian neorealism and French New Wave had "a penchant for theorizing its own cinematic practice." Italian neorealist cinema shot on location with nonprofessional actors and depicted working class citizens during the hard economic times following World War II. French New Wave drew from Italian neorealism, as New Wave directors rejected classical cinema and embraced iconoclasm.
Some proponents of Cinema Novo were "scornful of the politics of the New Wave", viewing its tendency to stylistically copy Hollywood as elitist. But Cinema Novo filmmakers were attracted to French New Wave's use of auteur theory, which enabled directors to make low-budget films and develop personal fan bases. Cinema Novo filmmaker Alex Viany describes the movement as having elements of participatory culture. According to Viany, while Cinema Novo was "as fluid and undefined" as its predecessor French New Wave, it required that filmmakers have a passion for cinema, a desire to use it to explain "social and human problems," and a willingness to individualize their work. Auteur theory greatly influenced Cinema Novo. Although its three phases were distinct, Cinema Novo encouraged directors to emphasize their personal politics and stylistic preferences; as Cinema Novo filmmaker Joaquim Pedro de Andrade explained to Viany in a 1966 interview: In our films, the propositions and ideas are varied, at times contradictory or at least multiple.
Above all they are free and unmasked. There exists a total freedom of expression.... At first glance this would seem to indicate some internal incoherence within the Cinema Novo movement, but in reality I think it indicates a greater coherence: a more legitimate and direct correspondence between the filmmaker--with his perplexities and certainties--and the world in which he lives. Class struggle informed Cinema Novo, whose strongest theme is the "aesthetic of hunger" developed by premiere Cinema Novo filmmaker Glauber Rocha in the first phase. Rocha wished to expose how different the standard of living was for rich South Americans and poor South Americans. In his 1965 essay "The Esthetic of Hunger," Rocha stated that "the hunger of South America is not an alarming symptom: it is the essence of our society.... Originality is hunger and our greatest misery is that this hunger is felt but not intellectually understood." On this note, Wheeler Winston Dixon and Gwendolyn Audrey Foster hold that "he Marxist implications of cinema are hard to miss".
Most film historians divide Cinema Novo into three sequential phases that differ in theme and subject matter. Stam and Johnson identify "a first phase going from 1960 to 1964," a second phase running "from 1964 to 1968," and a third phase running "from 1963 to 1972". There is little disagreement among film critics a