Cannes Classics Unveils Lineup, Orson Welles Tribute, Names Costa Gavras Guest of Honor

The sidebar will again show documentaries about cinema and restored versions of classics.

The Cannes Classics sidebar of the Cannes Film Festival on Wednesday unveiled its lineup, including tributes to Orson Welles and Ingrid Bergman, and said that legendary director Costa Gavras would be its guest of honor.

The sidebar showcases documentaries about cinema and re-discovered films and works with filmmakers to restore prints. Its selections typically coincide with new releases on DVD or theater re-releases.

"As the work for restorations is going on actively on all continents, one may only be overcome in our present time by regained vivid shadows, blacks and whites and colors of the history, which is exposed every year at Cannes Classics," the festival said. "Being the inspiration for numerous initiatives in the whole world, Cannes Classics keeps on working visiting the history of cinema, indisputable masterpieces or precious rarities."

Gavras won the Palme d’or with Missing in 1982 and was a member of the festival jury in 1976.

Here is a look at some of the Cannes Classics lineup this year:

Z (1968)
Original negative scanned 4K and restored frame by frame in 2K by Eclair Group and by LE Diapason for the sound. Restoration and color grading supervised by Gavras.

Hitchcock/Truffaut by Kent Jones (2015)

Depardieu grandeur nature by Richard Melloul (2014)

Steve McQueen: The Man & Le Mans by Gabriel Clarke and John McKenna (2015)

By Sidney Lumet by Nancy Buirski (2015)

Jag Är Ingrid (Ingrid Bergman, in Her Own Words) by Stig Björkman (2015, 1h54)

Citizen Kane by Orson Welles (1941)

The Lady from Shanghai by Orson Welles (1948)

The Third Man by Carol Reed (1949)

Orson Welles, Autopsie d’une légende by Elisabeth Kapnist (2015)

This Is Orson Welles by Clara and Julia Kuperberg (2015)

More by Barbet Schroeder (1969)

Jurassic Park 3D by Steven Spielberg (1993)

The Terminator by James Cameron (1984)

The Usual Suspects by Brian Singer (1995)

comments powered by Disqus