Analyzing the titles of Cannes films

Monikers shed light on global sentiments, concerns

Cannes was cuckoo for Coco pics and was teeming with teamings, judging by the titles available at the fest.

A film’s moniker is like a coming attraction: It should give an indication of what the pic is about. And studying a list of the titles at Cannes is like reading tea leaves, providing a clue to what people in the world are thinking.

Certainly relationships seem to be troubled: “My Year Without Sex,” “No Love in the City,” “Cold Souls,” “The Most Unromantic Man in the World,” “Millennium: Men Who Hate Women,” “Hardly Bear to Look at You,” “Speak Out Against Domestic Violence” and “Air Doll,” in which the title character is an inflatable woman. The Croisette was into girl power, with “High Kick Girl,” “Take 3 Girls,” “Robber Girls,” “Shadow Girl” and “The Dead Girl’s Feast.”

There were also “Coco,” “Coco Before Chanel” and “Coco Chanel and Igor Stravinsky,” none of which are to be confused with the Cannes restaurant Coco Loco.

Aside from Coco and Igor, fest titles were big on pairings: “Frankie and Alice,” “Charlie and Boots,” “Samson and Delilah,” “Adam and Eve,” “Yuki and Nina,” “Bob and Bobette,” “Mary and Max,” “Miguel and William,” “”Peter and Catherine,” “Agi and Emma,” “Alec and May,” “Marvin and Me,” “Me and Orson Welles,” “Ramu and Juliette” and the once-in-a-lifetime pairing of “Yo-Rhad and the Astromavericks.”

Faulty translations, or just singular ideas? It might have been either one with titles such as “The Wondrous World of Laundry,” “No One Knows About Persian Cats,” “The Immaculate Conception of Little Dizzle,” “The Three Investigators in the Secret of Terror Castle,” “The Night of the Living Dorks (aka Revenge of the Teenage Zombies)” and “Hitler Goes Kaput!”

Amid this cornucopia of great titles, a few were indispensable for fledgling festgoers: “French for Beginners,” “A Night in Cannes” and “Surviving Cannes.”

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