Cannes is, after all, the marquee cinematic event of the year (no offense, Oscars and Venice). Spitballing the lineup is an absolute blast for us. I get intel thrown at me and then try to piece together the final competition lineup. Of course, we are still 7 full months away from Cannes even occuring, but we already have assembled an impressive amount of possible titles. Most of these 23 films are either in production, post-production or completed. Triangle of Sadness — Ruben OstlundBardo - Alejandro Gonalez InarittuUntitled Spain Movie — Wes AndersonDecision to Leave — Chan Park-WookCrimes of the Future — David CronenbergOn Barren Weeds – Nuri Bilge CeylanThe Zone of Interest — Jonathan GlazerArmageddon Time — James GrayBaby, Box, Broker — Hirokazu Kore-eda Showing Up — Kelly ReichardtUntitled — Jia Zhangke ProjectTori et Lokita — Jean-Pierre & Luc DardenneThe Way of the Wind — Terrence MalickOur Apprenticeship — Ryūsuke HamaguchiWhat Happens —Andrei ZvyagintsevThe Son — Florian ZellerThe Perfumed Hill — Abderrahmane SissakoPeter von Kant — Francois OzonÉcole de l’air — Robin CampilloMonica — Kantemir BalagovThe Stars at Noon — Claire DenisUntitled — Jean-Luc GodardClose — Lukas DhontThe Eternal Daughter — Joanna HoggPassengers — Ira SachsFrere et Soeur — Arnaud DesplechinLa Chimera — Alice RohrwacherL’envol — Pietro MarcelloRevoir Paris — Alice WinocourThree Thousand Years of Longing — George MillerEureka — Lisandro Alonso What am I missing here? You can scratch off Claire Denis’ “Fire,” which is set to world premiere at Berlin. Ditto Robert Eggers’ “The Northman.” One can certainly dream of Steven Spielberg’s “The Fablemans,” and Martin Scorsese‘s “Killers of the Flower Moon” making the trek to the Croisette next year but both filmmakers seem to prefer skipping festivals. A couple of Netflix titles that would have been perfect fits for Cannes 2022 include Noah Baumbach’s “White Noise,” Jean-Pierre Jeunet’s “Bigbug,” and David Fincher’s “The Killer.” Maybe the Cannes/Netflix feud will be settled before then. American productions have veered more towards skipping Cannes these last few years, but that might not stop Todd Field’s “Tar,” Luca Guadagnino’s “Bones and All,” or Ari Aster’s “Disappointment Blvd” from entering the fray. Then there’s the question regarding Yorgos Lanthimos’ “Poor Things.” The film started production a few weeks ago and should be in the editing room by early January. A Venice bow seems more likely, but Lanthimos has a long history with Cannes, and an invitation to the croisette might be too hard to resist for the Greek auteur. In the coming weeks, films by Bruno Dumont and Armand Desplechin will start production and one must imagine those two filmmakers will again be aiming for Cannes. Contribute Hire me
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