Canis Cannes
or, in my English, Cannes goes to the dogs: Arthur itemizes:

Von Trier’s “Manderlay” – “about a fictional Alabama plantation where people are living in 1933 as if slavery were never abolished, staggered festival-goers with a disturbing portrayal of America that fails, even today, to come to terms with its racist past.” I am staggered too, that a lurid fantasy taking place 70 years ago is supposed to be a commentary about a contemporary America.

Gus van Sant’s “Last Days” – “about rocker Kurt Cobain’s drug-induced demise and suicide while parasite friends ignored his distress.”

Atom Egoyan’s “Where the Truth Lies” – “with Kevin Bacon as an over-sexed, over-drugged celebrity.”

David Cronenberg’s “A History of Violence” – “a portrayal of redneck American bloodletting.”

Robert Rodriguez’s “Sin City” – “with Bruce Willis needs no further explanation.”

Wim Wenders’ “Don’t Come Knocking” – “about an over-the-hill Western hero’s steep fall with alcohol and drugs.”

At least Van Sant, Egoyan, Cronenberg, Rodriguez, and Wenders have been to this country, unlike Von Trier, and their titles don’t rip off a name right from the first line of Daphne Du Maurier’s Rebecca,

Last night I dreamt I went to Manderley again.

No plans to see any of those, but I’d give Sin City the Palme d’Barfbag. As Mary put it, “So gross I couldn’t finish my popcorn”.

In other news, Europe unites in hatred of French (emphasis mine)

But the knockout punch to French pride came in the way the poll was conducted. People were not asked what they hated in the French, just what they thought of them.

Oh.

Well, at least the bread is good.