The celebrated filmmaker's comedy/drama landed Paul Laverty the Best Writer Award at the annual British Academy Scotland Awards, the Scottish branch of the British Academy of Film and Television Arts.
Newcomer Paul Brannigan took home the Best Actor prize for his leading role, which he landed after telling writer Laverty about his own battle with addiction and opened up about the time he spent in a young offenders' institution.
Gregor Fisher won best TV Actor for sitcom Rab C. Nesbitt, while Up There was hailed Best Feature Film at the Glasgow event.
Funnyman Billy Connolly was also acknowledged for his career achievements with the Outstanding Contribution to Television and Film accolade.
Loach's highly-acclaimed movie is up for Best Feature Film alongside Citadel and Up There at the annual ceremony, which celebrates the Scottish film, TV and video games industries.
The movie's stars Siobhan Reilly and Paul Brannigan will compete for the Actor/Actress (Film) prize, while writer Paul Laverty is also up for an award.
Popular Scottish stars Elaine C. Smith and Gregor Fisher are also pitted against each other in the Actor/Actress (TV) category for their turns as a married couple in longrunning BBC sitcom Rab C. Nesbitt.
The event will take place in Glasgow, Scotland on 18 November (12).
Two cops arrive at an abandoned house where they've heard screaming. They find a woman hunched over and her eyes are plucked out. A seven-foot monster Jacob Goodnight (Kane) then hacks one of the officers in half and cuts the other officer's arm off--but not before he shoots the maniac in the head. That officer Frank Williams (Steve Vidler) recuperates and four years later is assigned to a youth detention program. His first job is to escort some delinquents to an abandoned Blackwell Hotel where a little old historian Margaret (Cecilly Polson) needs volunteers to help her tidy up. Instead one by one the young people become part of the eyeball collection of the psycho who was traumatized by an over-religious mother. Aren’t we all? Yes there is acting in this including from the World Wrestling Entertainment bad-boy Kane who could develop a Freddy Krueger-like franchise as this homicidal religious freak. He grunts and huffs but also sobs and shows a conscience at crucial times. And he's scary not laughable which is always a danger in these kind of films. With what little they have to play off of the supporting team is good especially Craig Horner as an ambitious thief who has maps of all the secret corridors in the hotel. Among the delinquents are streetwise Christine (Christina Vidal) an a--hole bully Michael (Luke Pegler) a tattooed beauty Kira (Samantha Noble) and a seductive shoplifter Zoe (Rachael Taylor). Taylor’s Paris Hilton-like persona makes her one of the victims you can't wait to see get it. Some of the others hardly last long enough worth mentioning even though many of them have characters that are surprisingly fleshed-out before they become popped-out eye candy. See No Evil offers plenty of jump moments squirming gross-out scenes and hide-your-eyes shocks with a plot reminiscent of any of the Friday the 13th or Saw movies. Some of the gore is particularly gruesome and if you don't know what an eyeball looks like when it pops out of your head then you'll certainly have an anatomy lesson here. First-time feature director Gregory Dark known for making music videos utilizes those fast-cut edits muted colors and washed-out tones to create the horror. The camera closes in on bugs flies and even dives into the eye socket of a hollowed-out face. It follows a line of booby-traps in the hotel a jiggling arm that's cut off and even into a hole in the psycho-monster's head which is filled with maggots. Dark is never shy about any of it and gore fans won't be disappointed.
The weekend flew by with no signs of slowing down, starting with Saturday night's cocktail party at the Carlton Terrace, where wine started flowing early for everyone celebrating Sandra Bullock and Hugh Grant's new film, Two Weeks Notice.
Also on Saturday, Antonio Banderas and Rebecca Romijn-Stamos hosted their après-midnight exclusive screening of Brian de Palma's Femme Fatale. Melanie Griffith, wearing a red-carpet shade of lipstick, accompanied her husband up the Palais steps.
Finally, Sunday: awards night! A full moon graced the Riviera, bathing the winners in a light the paparazzi couldn't rival.
A screening of Jeremy Irons's movie And Now… Ladies and Gentlemen coincides with the closing ceremony. In it, he plays an English gangster who meets a burnt-out jazz singer (played by real-life French pop star Patricia Kass) in Morocco.
David Lynch has quite a decorated history here in Cannes. In 1990 he won the coveted Palme d'Or for Wild at Heart, last year he won Best Director for Mulholland Drive, and last week he was awarded the French Legion of Honor while he was the head of the jury. On Sunday, everybody was waiting to find out from him who'd won what!
Martin Scorsese headed the short film competition with the help of fellow judge Tilda Swinton (Orlando) and others. Co-winners of the Jury Prize were The Stone of Folly, a story about a medieval-era doctor by Canadian director Jesse Rosensweet, and Very, Very Silent Film, by Indian director Manish Jua. Peter Meszaros of Hungary won the Palm d'Or of Short Film for Eso Utan.
The Camera d'Or is a prize that any first-time feature director in any part of the festival is eligible to win. This year two winners were awarded the Camera: French helmer Julie Lopes-Curval for Bord du Mar, about love in a seaside town, and Mexican filmmaker Carlos Reygadas for Japon, a story about redemption. Both films were part of the Directors Fortnight.
Mulholland Drive star Naomi Watts presented Michael Moore with the 55th Anniversary of Cannes Award for the first documentary ever to win, Bowling for Columbine. Michael attempted to make his acceptance speech in very labored French, and it was unclear what the locals thought of his mangled repartee.
Andie MacDowell awarded Elia Suleiman the Prix du Jury (the bronze prize.) His Divine Intervention is the first Palestinian movie in Competition.
Paul Laverty won the Best Screenplay Award for his work on Ken Loach's latest, Sweet Sixteen.
For the second year in a row, two directors shared the Best Director prize. In 2001, David Lynch and Joel Cohen shared it. This year it went to South Korean director Im Kwon-Taek for Chihwaseon, about a painter, and Paul Thomas Anderson for his dark romantic comedy Punch-Drunk Love, starring Adam Sandler.
The Best Actor award went to Belgian director Olivier Gourmet for his role in The Son from Luc and Jean-Pierre Dardenne. Best Actress went to Finnish performer Kati Outinen in The Man Without a Past. The movie, directed by Aki Kaurismakis, won the Grand Prix. Perhaps the silver medal wasn't good enough for him, because when he fumbled onstage to accept the award, he said, "I thank myself," and returned to his seat!
The big winner? Diminutive Roman Polanski loomed large at the festival this year. He received The Palme d'Or for The Pianist, a movie about the life of the Jewish pianist Wladyslaw Szpilman living in the Warsaw ghetto, starring Adrien Brody.
…and that's a wrap! Catch you next year live from Cannes!
A young Mexican woman Maya (Pilar Padilla) is anxious to come to America and live a better life. In a daring opener she illegally crosses the California/Mexican border and with a few glitches she eventually joins her older sister Rosa (Elpidia Carrillo) in Los Angeles. For Rosa a life trying to support her two children and tend to her sick husband has been hard-she is well aware of the harsh realities of Latinos in the U.S. But the optimistic and eager Maya nonetheless wants to work with Rosa at her job as a building janitor. Unfortunately her views quickly sour when the conditions on the job become almost unbearable especially under a tyrannical and lecherous boss. Then she disccovers her true voice. With the help of a passionate union activist Sam (Adrien Brody) Maya fights for her workplace to join the "Justice for Janitors" union. Rosa believes these actions will only end in disaster but Maya is convinced she can win every battle on her own terms. Her fight ultimately leads to unexpected consequences--and sacrifices--in the young woman's life.
Director Ken Loach blends a combination of experienced film actors with raw newcomers to form a truly excellent ensemble cast but spirited Mexican actress Pilar Padilla's debut performance is what draws you into the film. Loach originally did not consider her for the part because she didn't speak English but through improvisations in Mexico where she acted as a sparring partner for other candidates her sheer presence made the camera gravitate towards her. With an intensive crash course in English she became Maya. Also superb is Elpidia Carrillo (Salvador) whose jaded yet fiercely independent Rosa counteracts Maya's youthful innocence. In the pivotal scene where Rosa lets Maya know how much she has truly sacrficed for Maya and her family the audience is just as horrified as Maya--and riveted. Indie favorite Adrien Brody (Liberty Heights) does a nice job as Sam the union activist whose guerilla methods provide some interesting comic relief and his and Padilla's love scenes are at once sweetly sexy and slightly goofy.
Though the beauty of Bread and Roses is that it gives an intimate and social portrait of the real life struggles Latinos face in contemporary Los Angeles British director Loach comes to the story as an outsider much as Maya does when she first gets to Los Angeles. Nonetheless it offers insight into the experiences of a extremely hard-working group of people who once thought of America as the place to make a life for themselves. When they arrive in this land of plenty however many find they have to get what jobs they can for very little money--and with little support from the establishment. The rights of the working man is not an unfamiliar theme in films but to have it treated from a Latino perspective is refreshing. Loach also uses both Spanish and English subtitles often switching mid-sentence as the actors speak both languages at the same time. The technique is a tad hard to follow at first but it eventually flows immersing the viewer into the reality of this world.