FILM COMMENT for July/August has some Cannes pieces available online by

JOUMANE CHAHINE who goes into detail about Cristian Mungiu's hard-to-watch BEYOND THE HILLS. She thinks its roughness on the psyche is a good thing, making you really ask questions long after you've left the auditorium. Point well taken: if one good movie really shakes you up, a festival may have done' it's job..

MARCO GROSOLI, who talks about Bertolucci's ME AND YOU. I'd forgotten about it. Now I remembe D'Angelo called it pleasingly inconsequential" and said it "feels like a warm-up exercise." Such is the fate of so much Italian cinema today. But this one may not look that way to the Italian Grosoli, who points out to begin with that this is Bertolucci's first Italian language film in 30 years. I'm afraid this longer description doesn't disprove D'Angelo. This sounds claustrophobic and beautiful, like THE DREAMERS.

RICHARD PEÑA talking about Latin American films supplanting Asian ones for the new source of energy at the festival. Larraín's NO is the most important one this year, he feels. He's probably got a very good point there. I respect Larraín. Peña also has appetizing descriptions of films from Colombia (newcomer William Vega) and Argentina (a Cannes regular by now, Pablo Trapero).

AMY TAUBIN discusseing COSMOPOLIS, AMOUR, OUR CHILDREN, BEYOND THE HILLS, and other high-profile films of the festival. She loved COSMOPOLIS and liked it even better watching it a second time bck in the States.

GAVIN SMITH, who comes off as pretty blasé and bored by the whole festival, which he reviews, concluding that Cannes didn't have such a "lucky" year this time. But his focus seems to be on choice rather than luck, and he found there wasn't enough "risk-taking," though the acknowledgedly most in that category, Leos Carax's HOLY MOTORS, he decided was "barely there as a film." You can't win with this guy.