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Cannes hangover.

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Shake, barley, shake!

At Salon, Andrew O’Hehir churns out what’s totally our favorite Cannes wrap-up.

Perhaps the only thing more startling than Loach‘s Palme d’Or was the list of films that went totally unmentioned, either during the Palmarès or the subsequent press conference. The jury members had plenty of opportunity to discuss favorite films they couldn’t quite find awards for; we heard about how much Tim Roth loved Chinese director Lou Ye‘s "Summer Palace," and how much Samuel L. Jackson was affected by Giacomo Rizzo‘s performance as a cynical loan shark in Paolo Sorrentino‘s "The Family Friend." Everybody waxed eloquent about Portuguese director Pedro Costa‘s "Colossal Youth," a docudrama set amid the African immigrant population of Lisbon.

But nobody brought up Israel Adrián Caetano‘s political thriller
"Buenos Aires 1977" or Guillermo del Toro‘s fairytale of fascist Spain,
"Pan’s Labyrinth," even though those, along with "Volver," were
probably the most buzzed-over pictures among the press corps. If the
atmosphere at the press conference wasn’t exactly hostile — after all,
this was a roomful of entertainment reporters facing a gaggle of
celebrities — it possessed some other, less definite, quality.
Mystification, maybe. It was as if the questions we really wanted to
ask Wong, Roth, Jackson, Leconte, Suleiman, Monica Bellucci and company
were: Why have you ignored our expert advice? Or: How dare you remind
us that all our hard-earned gossip and punditry don’t mean anything?

The Village Voice has a post-Cannes package that includes J. Hoberman summing up "Marie Antoinette" and others and then covers the prizes; Mark Peranson catching up with a "bruised but not beaten Richard Kelly" and discussing the edits he’ll have to make to "Southland Tales" (and either borrowing from Mike D’Angelo or coming up independently with the headline "Goodbye, ‘Southland,’ Goodbye," and aren’t we all just so fucking clever?); and Peranson also chatting with Richard Linklater about his (wanly received) Cannes double punch.

Meanwhile, in British tabloid The Sun, columnist Harry MacAdam has called "The Wind That Shakes The Barley" the "most pro-IRA film ever," with a plot "designed to drag the reputation of our nation through the mud." At BBC News, Loach responds:

"Nonsense," he told BBC Breakfast. "We could have shown things that were much worse than are actually in the film."

He also said accusations that his film could be seen as a recruiting tract for the Irish Republican Army were "a cheap shot" and "barely worth answering".

At the Guardian, Stephen Moss ponders the possible meanings of the director’s triumphant clenched fist when accepting the Palme d’Or, while at the Independent, Cahal Milmo reconsiders "Cinema’s own Red Ken."

And at his blog, Anthony Kaufman puts his Cannes viewing in order (that would be best to worst).

+ Beyond the Multiplex: Cannes (Salon)
+ Before the Revolution (Village Voice)
+ Golden Loach (Village Voice)
+ Goodbye Southland, Goodbye (Village Voice)
+ Double Vision (Village Voice)
+ Loach rebuts ‘anti-British’ claim (BBC)
+ What’s in a clenched fist? (Guardian)
+ Ken Loach: Cinema’s own Red Ken (Independent)
+ Cannes 2006: From Best to Worst (Anthony Kaufman’s blog)

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The Best Of The Last

Portlandia Goes Out With A Bang

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The end is near. In mere days Portlandia wraps up its final season, and oh what a season it’s been. Lucky for you, you can watch the entire season right now right here and on the IFC app, including this free episode courtesy of Subaru.

But now, let’s take a moment to look back at some of the new classics Fred and Carrie have so thoughtfully bestowed upon us. (We’ll be looking back through tear-blurred eyes, but you do you.)

Couples Dinner

It’s not that being single sucks, it’s that you suck if you’re single.

Cancel it!

A sketch for anyone who has cancelled more appointments than they’ve kept. Which is everyone.

Forgotten America

This one’s a “Serial” killer…everything both right and wrong about true crime podcasts.

Wedding Planners

The only bad wedding is a boring wedding.

Disaster Hut

It’s only the end of the world if your doomsday kit doesn’t include rosé.

Catch up on Portlandia’s final episodes on demand and at

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Your Portlandia Personality Test

The New Portlandia Webseries Is Going Your Way

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Carrie and Fred understand that although we have so much in common, we’re each so beautifully unique and different. To help us navigate those differences, Portlandia has found an easy and honest way to embrace our special selves in the form of a progressive new traffic system: a specific lane for every kind of driver. It’s all in honor of the show’s 8th and final season, and it’s all presented by Subaru.

Ready to find out who you really are? Match your personality to a lane and hop on the expressway to self-understanding.

Lane 10: Trucks Piled With Junk

Your junk is falling out of your trunk. Shake a tail light, people — this lane is for you.

Lane 33: Twins

You’re like a Gemini, but waaaay more pedestrian. Maybe you and a friend just wear the same outfits a lot. Who cares, it’s just twinning enough to make you feel special.

Lane 27: Broken Windows

Bad luck follows you around and everyone knows it. Your proverbial seat is always damp from proverbial rain. Is this the universe telling you to swallow your pride? Yes.

Lane 69: Filthy Cars

You’re all about convenience. Getting your car washed while you drive is a no-brainer.

Lane 43: Newly Divorced Singles

It’s been a while since you’ve driven alone, and you don’t know the rules of the road anymore. What’s too fast? What’s too slow? Are you sending the right signals? Don’t worry, the breakdown lane is nearby if you need it.

Still can’t find a lane to match your personality? Check out all the videos here. And see the final season of Portlandia this spring on IFC.

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

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