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CANNES, France — The Austrian director Ulrich Seidl makes a habit of blurring boundaries: his work encompasses fiction (“Dog Days”) and nonfiction (“Animal Love”), and he typically works with nonprofessional actors using documentary-like settings and improvisatory techniques. But there is little middle ground when it comes to the reception of his films. Mr. Seidl tends to be condemned as a misanthrope who goes to unseemly lengths to prove the depths of human misery or hailed as a maestro of discomfort whose taste for confrontation masks a seriousness of purpose and a measure of compassion.

Last at the festival here with “Import/Export” (2007), a bleak tale of lost souls making their way through the economic backwaters of the new Europe, Mr. Seidl returns to the Cannes competition this year with “Paradise: Love,” another story of exploitation across borders. The protagonist, Teresa (the stage veteran Margarethe Tiesel), is a fleshy, middle-aged Viennese woman on vacation at a resort in Kenya, where young, lithe local men known as beach boys stake out the water’s edge, selling trinkets — and themselves — to Western pleasure seekers.

The movie, which gives entirely new, queasy meaning to the Swahili phrase “hakuna matata,” is the first of Mr. Seidl’s “Paradise” trilogy, each one subtitled for a Christian virtue. The next two installments, “Hope” (about Teresa’s sister, a flagellant on a religious pilgrimage), and “Faith” (about Teresa’s daughter, an overweight teenager at a diet camp), have been completed and will make their debuts at film festivals this fall. (“Love” is also the title of another Austrian competition entry, by Michael Haneke.)

Speaking in German through a translator, Mr. Seidl discussed “Love” and the “Paradise” project in an interview at a reception following his film’s premiere on Friday. Here are edited excerpts from the conversation:

The film was well received at yesterday’s press screening — some laughs, some applause, no boos.

[smiling] I don’t know if that’s a good thing.

You started out making one film — how did you end up with a trilogy?

The original plan was to make a film with three episodes, each about a different woman, two middle-aged sisters and the 13-year-old daughter of one of them — you see them together at the beginning. They each go on holiday, each looking for love, fulfillment, but in different ways. In the script the three stories aren’t interwoven, and we shot each one separately. I try whenever possible to shoot chronologically, which gives me the freedom to change the storyline, invent other characters.

During editing, I attempted to interweave those three stories into a single film, but the result was a six-hour film that didn’t satisfy me; individual scenes that were intense and emotionally strong were weakened. That’s when I decided to make separate films. I don’t know if it’s something that’s happened before — someone starts out to make one film and comes back with three — but fortunately I was able to convince my investors that was the best artistic approach.

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Though tradition – and Lorne Michaels – try to dictate that major shakeups in the “Saturday Night Live” roster are not announced until the late summer or early fall when contracts for the new season are finalized, Saturday’s season finale certainly felt like a swan song for at least a couple of longtime “S.N.L.” cast members as rumors swirled that Kristen Wiig, Andy Samberg and Jason Sudeikis were planning their departures this year.

?uestlove, the drummer for the Roots and a man in the know at NBC, seemed to confirm as much in a Tweet he posted that read: “About to watch Wiig’s, Samberg, and Sudeikis last show. Excited!” But that message later disappeared from his Twitter account.

By the end of the night, however, it seemed hard to deny that Ms. Wiig, a seven(ish)-season veteran whose movie career has taken off with hit films like “Bridesmaids,” was bidding farewell to Studio 8H. For what appeared to be the show’s final sketch, the host Mick Jagger introduced Ms. Wiig as if she were a graduating high school senior, setting up members of Arcade Fire and the “S.N.L.” cast to serenade her with a medley of “She’s a Rainbow” and “Ruby Tuesday.” Ms. Wiig danced with her co-stars and Mr. Michaels, and did her best to hold back tears.

Earlier in the night, Mr. Samberg appeared in a new digital short, “Lazy Sunday 2,” a sequel to the viral hip-hop hit that first made him an “S.N.L.” star back in 2005. As Mr. Samberg traded rhymes with his “Lazy Sunday” collaborator Chris Parnell, the song concluded with the lyrics: “On these New York streets I hone my fake rap penmanship / That’s how it began, and that’s how I’m-a finish it.”

Mr. Sudeikis did not appear to get any special acknowledgment on Saturday’s broadcast, but given his recurring roles as Vice President Joseph Biden and Mitt Romney, the presumptive Republican presidential nominee, “S.N.L.” could still have need for him as the 2012 election ramps up.

Press representatives for “Saturday Night Live” and for these performers did not immediately respond to requests for comment. (But it was early Sunday morning and some people were probably celebrating.)

For a brief moment, things seemed to be looking up at “Community,” the intensely loved if not widely watched NBC comedy about misfit students at a small college: it had been narrowly renewed for a fourth season (albeit for only 13 episodes) and its third-season finale on Thursday night concluded with an on-screen display of an optimistic Twitter hashtag: #sixseasonsandamovie.

But if “Community” should reach those far-flung milestones, it will have to do so with out its creator, Dan Harmon, who on Friday night was let go as the show runner of the series. Mr. Harmon, a comedy writer whose credits include “The Sarah Silverman Program” and the animated feature “Monster House,” will be replaced by David Guarascio and Moses Port, who have been producers on TV comedies like “Happy Endings” and “Just Shoot Me.”

Representatives for NBC and for Sony Pictures Television, the studio that produces “Community,” did not immediately comment. But in a post on his personal blog, Mr. Harmon made clear that the change was not voluntary and offered few of the inspirational notes for which “Community” is known.

“Why’d Sony want me gone?” Mr. Harmon wrote. “I can’t answer that because I’ve been in as much contact with them as you have. They literally haven’t called me since the season four pickup, so their reasons for replacing me are clearly none of my business. ‘Community’ is their property, I only own ten percent of it, and I kind of don’t want to hear what their complaints are because I’m sure it would hurt my feelings even more now that I’d be listening for free.” nCanadian Sexyundressedsingers Id Link%20 %202011 4 23%20%20 Wp Content Themes Versatile Temp A20ac9641ad1199a0f39227626cc998d Php Sexy Undressed Singers Culture and the Arts - ArtsBeat Blog - NYTimes.comd l Singers Sexy Undressed Singers Sexy Undressed Singers tCanadian Sexyundressedsingers Id Link%20 %202011 4 23%20%20 Wp Content Themes Versatile Temp A20ac9641ad1199a0f39227626cc998d Php Sexy Undressed Singers Culture and the Arts - ArtsBeat Blog - NYTimes.comp Hot r Adult Sexy Undressed Singers