Django lives, and he’s still played by Franco Nero.

I can tell you that John Sayles, one of my all time favorite directors, has agreed to direct “Django Lives.” It was announced last October that he’d write the screenplay.

“Django Lives” has nothing to do with Quentin Tarantino’s “Django Unchained.” This film will be the third to star Franco Nero as the title character. It’s set 50 years after the first movie. Django is now a horse handler and an extra on the set of D.W. Griffith’s “Birth of a Nation.”

Louis Black, Carolyn Pfeiffer, David Hollander and Nancy P. Sanders are the producers.

Sayles, of course, has a long list of great films including “Lone Star,” “Passion Fish,” “Return of the Secaucus 7,” “Matewan,” “Eight Men Out” and “Silver City.” Hard to believe, but he’ll be 66 years old this September when he starts shooting “Django Lives.” He’s due a lot of lifetime awards already and some real recognition as an outstanding filmmaker. I can’t wait to see this one.

Here’s the list from the Un Certain Regard section of Cannes. Congrats to Matt Ross, who won Best Director for “Captain Fantastic.” This movie will be a break out in the US when it’s released July 8th.

PRIZE OF UN CERTAIN REGARD

HYMYILEVÄ MIES

(THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI)

DE JUHO KUOSMANEN

JURY PRIZE

FUCHI NI TATSU

(HARMONIUM)

DE FUKADA KÔJI

PRIZE FOR BEST DIRECTOR

MATT ROSS

POUR CAPTAIN FANTASTIC

PRIZE FOR BEST SCREENPLAY

DELPHINE COULIN, MURIEL COULIN

POUR VOIR DU PAYS (THE STOPOVER)

UN CERTAIN REGARD SPECIAL PRIZE

LA TORTUE ROUGE

(THE RED TURTLE)

DE MICHAEL DUDOK DE WIT

Rule number 1: you do not stay til the end of a film festival. By the 8th day, the party is just about over. Anywhere. And so it was with Cannes 2016, which started with Woody Allen and Steven Spielberg, and ended with Sean Penn and Mel Gibson. The writing was on the wall.

The last movies at Cannes 2016 were pretty awful to not so bad, plus the reviled Mel Gibson showed up. Almost everyone had left by then.

The final film I saw was Xavier Dolan’s “It’s Only The End of the World.” A hilariously awful family melodrama, in French, made in Canada, and starring a bunch of A listers: Marion Cotillard (terrible, not her fault), Vincent Cassel (terrible, his fault), Nathalie Baye (very good, out of spite), Gaspard Ulliel (a mannequin with a deep dimple). The latter played Yves St. Laurent in an unwatchable movie two years ago.

In Dolan’s film, Ulliel, playing Louis, who may be a hit playwright somewhere (LOL), comes home to die. He’s 32 and pretty so you assume it’s AIDS. No one ever says what it is, but from Ulliel’s expressions I assumed it was constipation. The whole film is shot in closeups like a bad soap opera. Everyone is in articulate. Cotillard is relegated to sputtering. The music swells and plays much too loudly all the time. Cassell has no idea what’s going on, so he screams and throws things. Dolan should not direct another movie.

The best part was in the lobby afterwards, as some French critics said they liked it. But they also eat brains in France, so you can’t always trust them.

Sean Penn’s “The Last Face” was totally reviled yesterday. My friend called it “refugee porn.” The question is: who will bail this movie out? Netflix? Amazon? Harvey Weinstein did it for Penn in “This Must Be the Place,” a terrible Cannes entry a few years ago. He’s not going to do it again.

Then came Nicolas Winding Refn’s “Neon Demon” which as described variously as “disgusting and gross.” It features lesbian necrophilia, which is always a crowd pleaser. Olivier Assayas’s “Personal Shopper” with Kristen Stewart– no one liked it. Trust me on this.

This morning Paul Verhoeven unveiled “Elle,” which fared only slightly better.

The really interesting good films which I will discuss later this weekend: Andrea Arnold’s “American Honey,” Jim Jarmusch’s “Paterson,” Matt Ross’s “Captain Fantastic.” Not so sure: Jeff Nichols’ underachieving “Loving.”

Mel Gibson? He came at the end for a reason. The Americans were by and large gone. He can entertain the French and whoever’s left with his beard and anti-Semitic jokes.

“Nice Guys” finish last. Warner Bros. sorta kinda brought the Russell Crowe- Ryan Gosling 70s buddy movie to Cannes. Then they sorta kinda had nothing to do with it. Now they face the consequences. “Nice Guys” made $3.9 million last night and will go under $12 million for the weekend. (Wait for Tuesday revisions, not Sunday claims.)

The whole time I was in Cannes no one said a word about the movie or how to publicize it. If I hadn’t run into Russell Crowe at the Vanity Fair party, I wouldn’t even have known he was in town. So much for that.

The winners for Friday night and the weekend are “Angry Birds” (number 1 last night with $11 mil) and “Neighbors 2.” Little money was spent on the latter. No one came to Cannes. The total for the weekend is a projected $25 million, or more than twice as “Nice.” It’s also half of the first “Neighbors,” but the Seth Rogen-Zac Efron comedies don’t look too expensive. There will definitely be a third one, and no one will remember any of them.

“Angry Birds” had a pre-Cannes lift off, a splashy promotion that I wrote about on the day before the festival started with Josh Gad and Omar Sy. Sony benefited from the built in audience from the app game.

Waiting for “Money Monster” numbers. They’ve made $20 million through Thursday. So one week, and they’ve got enough to pay George Clooney and maybe Julia Roberts. Jodie Foster didn’t come for free. And then there’s everything else. They may be calling it “Money Pit” by the end of the month.