As the Festival de Cannes comes to a close, a handful of films have found homes with three different indie distributors via last minute acquisitions.

IFC Films acquired U.S. rights to director Bertrand Tavernier’s “The Princess of Montpensier,” indie cult helmer Gregg Araki’s “Kaboom“ and Mexican filmmaker Jorge Michel Grau’s directorial debut, “We Are What We Are.”

Additionally, Sony Pictures Classics acquired U.S., Australia and New Zealand rights to the French film, “Of Gods & Men“ while Anchor Bay Entertainment has picked up U.S. distribution rights to “Altitude,” the supernatural thriller directed by comics artist Kaare Andrews.

Given today’s rough marketplace for indie films, obtaining a theatrical release for even a big-name rockumentary is far from a sure bet. But Billy Joel’s new feature “Last Play at Shea,” which bowed at the Tribeca Film Festival this past weekend, looks like it is poised to beat the odds and could become one of the fest’s first big acquistion titles.

Of course, it helps that Joel and several other musicians featured in the film are long-time Sony recording artists. Jon Small, who directed the concert footage in “Shea,” which was helmed by Paul Crowder, said after an appearance at the fest’s “Docs Doing It Right” panel that it’s looking like Sony Pictures Classics may give “Shea” a limited theatrical rollout later this year, followed by a home video release.

Sony Pictures Classics has acquired all North American rights to Sylvain Chomet’s “The Illusionist” from Pathe.

SPC and Chomet collaborated on the filmmaker’s “The Triplets of Belleville,” which was nominated for a best animated feature Oscar in 2003. “The Illusionist,” which had its world premiere at the Berlin International Film Festival in February, will be released in theaters at the end of the year.

Sony Pictures Classics is staying in the Woody Allen business.

The company has picked up North American theatrical rights to Allen’s film “You Will Meet a Tall Dark Stranger” and plans to release it in the fall. SPC released the Allen films “Whatever Works,” in 2009, and “Sweet and Lowdown,” in 1999.

“I love working with Michael Barker and Tom Bernard,” Allen said, “and I know my films are in good hands with them.”

The  bouncer-enforced wristband policy has gone into overdrive at Sundance. No bandy, no party!

Catherine Keener was held up while receiving her wristband (until a publicist intervened) going up to the after party for her film “Please Give.”

Once inside, Keener and her co-stars Amanda Peet and Rebecca Hall bonded around a table joined by director Nicole Holofcener – chowing chicken, pasta and salad.

“It’s not ideal to be at high altitude,” said Peet, a first-timer to Sundance. “I get very dehydrated, so this helps,” said Peet holding up her water bottle. The 5 1/2 month pregnant actress lookeding every inch a glam mama-to-be.

A little dust-up is occurring in the world of Academy screeners.

Apparently, Sony has not included copies of the Sony Pictures Classics film “Moon,” written by Nathan Parker and directed by Duncan Jones, in its package of awards-season screeners. News of this exclusion comes from Jones, who has been tweeting with supporters about the situation, since it severely kneecaps the film’s — and star Sam Rockwell’s — chances at Oscar consideration.

Among Jones’ tweets Wednesday, are these references to Sony and its decision:

“we have more than asked.. we’ve knocked heads. they have chosen the films they are backing & we are not in their plans.”

“They say it costs too much for our little film as they would need to be water-marked copies as our DVD isnt out yet in the US.”

Neil Gaiman has offered his help to Jones via tweet, and others have suggested enlisting Jon Favreau to the cause, since he is rumored to be disappointed by Sony’s disinclusion of “Moon.” (There’s also a petition circulating to get Rockwell an Oscar nomination.)

It’s unlikely that the effort will change any minds at Sony, but it’s invigorating to see another example of filmmakers working outside the blockbuster system — and the filmgoers who support their films — using new technology to fight for exposure. At the very least, these partisans know that their techno-agitating will likely lead to more people seeing the film.

And that’s always the goal.

Reps for the Sony Pictures Classics release “The Imaginarium of Doctor Parnassus,” the latest fantasia from Terry Gilliam, are distributing statements from co-stars Johnny Depp and Jude Law. This was the film Heath Ledger was working on when he died last year, and Gilliam asked Depp, Law and Colin Farrell to help finish the film as variations on Ledger’s character.

Here are the statements:

JOHNNY DEPP:
“Maestro Gilliam has made a sublime film. Wonderfully enchanting and beautiful, ‘The Imaginarium Of Doctor Parnassus’ is a uniquely ingenious, captivating creation; by turns wild, thrilling and hilarious in all its crazed, dilapidated majesty. Pure Gilliam magic!!!

It was an honor to represent Heath. He was the only player out there breathing heavy down the back of every established actors neck with a thundering and ungovernable talent that came up on you quick, hissing rather mischievously with that cheeky grin, ‘hey… get on out of my way boys, i’m coming through…’ and does he ever!!! Heath is a marvel, Christopher Plummer beyond anything he’s ever done, Waits as the Devil is a God, Lily Cole and Andrew Garfield, the very foundation, are spectacular, Verne Troyer simply kicks ass and as for my other cohorts, Colin Farrell and Jude Law, they most certainly did Master Ledger very proud, I salute them.

Though the circumstances of my involvement are extremely heart-rending and unbelievably sad, I feel privileged to have been asked aboard to stand in on behalf of dear Heath.”

JUDE LAW:
“I have always loved Terry Gilliam’s films. Their heart, their soul, their mind, always inventive, touching, funny and relevant. When I got the call, it was a double tug. I liked Heath very much as a man and admired him as an actor. To help finish his final piece of work was a tribute I felt compelled to make. To help Terry finish his film was an honour paid to a man I adore. I had a great time on the job. Though we were all there in remembrance, Heath’s heart pushed us with great lightness to the finish.”

SPC released the movie in New York and L.A. Christmas Day; it goes wide January 8.