Cannes Bump

Boil down Steven Zeitchik‘s 5.28 L.A. Times piece about the impact that the 2012 Cannes Film Festival may have on the Oscar race, and you’re left with one solid: Michael Haneke‘s Amour will be a major contender for Best Foreign Language Film. (Unless the foreign language committee finds it too dispiriting.)

I would like to think that Leos Carax‘s Holy Motors would also figure strongly in that competition. (Unless the rank-and-file dismiss it as too hallucinatory.) That’s what everyone always says when a unmistakably fine film is about to open in the U.S. — i.e., how will the older slowpokes respond?

Yes, Garrett Hedlund has stepped up and out of the box with his Dean Moriarty/Neal Casady turn in Walter SallesOn The Road — it’s a bracing, live-wire performance — but it’s destined for Spirit Awards attention, at most. I haven’t seen Mud (many thanks, WeAreFilmNation) so I obviously can’t get into Matthew McConaughey‘s admired performance in the titular role. What about Marion Cotillard‘s exacting but subtle work in Rust and Bone?