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Cannes Film Festival

And... cut! Nazi outburst earns Von Trier a ban from Cannes

The Cannes Film Festival, long-heralded for its libertarian attitude to the work and lives of its many auteurs, has finally drawn a line in the sun-scorched sand. Its organisers have banned Danish director Lars von Trier from the festival for telling the world's media he was "a Nazi" and could "understand Hitler".

'Oliver' gets an acrobatic twist

A new film adaptation of Charles Dickens's Oliver Twist which sees the orphan scale buildings and hop across the rooftops of London's most famous museums is sure to raise a few eyebrows among purists.

The Diary: Tim Burton; Tate Modern; Pedro Almodóvar; Don Boyd; Janek

Tim Burton, appearing for the first time in his formal role as president of this year's Cannes Film Festival, cut a kooky figure on stage when he was asked which previous Palme d'Or winning films he thought to be memorable. Staring into space for a minute, he said "I can't remember any", while the nine fellow jurors, including Kate Beckinsale, mumbled titles such as Apocalypse Now and Taxi Driver. "I always blank out," Burton added. Quizzed about the dearth of female jurors this year – only two against eight male counterparts – he said that in his experience at least half of the movie executives that have green-lit his films have been female. He also bemoaned the absence of the director Roman Polanski, currently detained in Switzerland, from the festival, as well as that of the Iranian director Jafar Panahi, who was to sit on the Cannes jury of the Cannes before he was imprisoned by Tehran's authorities. "Yes, of course, there's an issue about political and freedom of expression. I would like them to be released," he said.

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French school film is the Class act in Cannes

The Cannes Film Festival's Palme d'Or was won by the French production Entre les murs (The Class) last night. The film, directed by Laurent Cantet, used teachers and students to chronicle a year in the life of an inner-city school. "The film we wanted to make had to be a reflection of French society – multiple, many-faceted, complex," said Cantet. "Sometimes also with friction that the film does not try to cover up."