After the 2020 Cannes Film Festival was canceled due to a pandemic and the 2021 edition was curtailed – even kisses were banned on the red carpet – the luxurious evening of the French Riviera cinema should return with a festival that promises to be something like ordinary.

Or at least a very special brand of normal Cannes, where for 12 days formal clothes and film are mixed in sunshine, applause with a stopwatch lasts for minutes, and the names of directors such as “Kore-ed” and “Dennis” spoke with low respect. .

What is considered common in Cannes has never been particularly common, but it has proven to be extremely resilient to time fluctuations. Since its first festival, in 1946 after World War II, Cannes has become a maximalist spectacle that focuses on world cinema and glamor on the Cote d’Azur. This year marks the 75th anniversary of Kanam.


“I hope that now everything will return to the usual Cannes,” says Ruben Estlund, who returns this year with the social satire “Triangle of Sorrows”, a sequel to the film “Square”, which won the “Golden Palm” in 2017.

“It’s a fantastic place when you’re a director. You feel the world is paying attention to you,” Estlund adds. “To hear the noise, people talk about different films. I hope they talk about your film.”

This year’s Cannes, which opens on Tuesday with the premiere of the zombie film by Michel Hazanavičius “Z”, will unfold not only against the backdrop of the late pandemic and the rising tide, but also against the backdrop of the biggest war Europe has seen since World War II in Ukraine. . Launched as a product of the war – the festival was originally launched as a French competitor to the Venice Film Festival, which was hampered by Benito Mussolini and Adolf Hitler – this year’s Cannes again echoes the not-so-distant outgoing conflict.


Organizers in Cannes have banned Russians with ties to the government from participating in the festival. Several films by well-known Ukrainian directors are being released, including Sergei Loznitsa’s documentary “Natural History of Destruction.” Footage taken by Lithuanian director Mantas Kvedaravičius before he was killed in Mariupol in April will also be shown by his fiancée Anna Bilobrova.

At the same time, there will be more Hollywood stars in Cannes than in three years. Joseph Kosinski’s film “Top Gun: Maverick”, which was postponed during the pandemic, will be shown in cinemas shortly before its opening. Tom Cruise will walk the carpet and sit down for a rare career-covering interview.

“Every director dreams of going to Cannes someday,” says Kosinski. “Going there with this film and with Tom, showing it there and being part of the retrospective they’re going to do for it – it’s going to be a once in a lifetime experience.”


In Warner Bros. will be the premiere of the gorgeous “Elvis” Base Luhrmann with Austin Butler and Tom Hanks in the lead roles. George Miller, the last in Cannes with the film “Crazy Max: The Road to Rage”, debuts with his fantastic epic “You’re a Thousand Years of Sorrow” with Idris Elba and Tilda Swinton. Ethan Cohen will show his first film without his brother Joel, “Jerry Lee Lewis: Problems in the Head,” a documentary about a rock and roll legend made from archival footage. Also debuted: “Time of Armageddon” by James Gray, a semi-autobiographical story of growing up with Anthony Hopkins, Anne Hathaway and Jeremy Strong.

Not all of Hollywood will be present. The Cannes regulations on screening in cinemas essentially exclude streaming services from the competition line from which the winner of the Golden Palm is selected. This year’s jury is headed by French actor Vincent Lyndon.


Last year’s Palme laureate, the explosive film “Titan” by Julia Ducourne with Lindane in the lead role, was only the second time that Cannes ’highest award went to a female director. This year, five films made by women are fighting for the palm tree, a record for Cannes, but a low percentage compared to other international festivals.

This year’s lineup is also full of veterans of the festival and former Palme winners, including Hiracazu Core-ed (“Broker”), Christian Mungiu (“RMN”) and Jean-Pierre and Luc Darden (“Tori and Lokita”). Iconoclast Filmmakers such as Claire Dennis (“Noon Stars”), David Cronenberg (“Crimes of the Future”) and Pak Chan Wook (“The Decision to Leave”) are also vying for the palm tree, as is Kelly Reichardt, who reprises playing with Michelle Williams. the film “Appearance”.

How far can the festival really go back in time, even with a reliable list full of horse stars? Last year’s edition for Crowd Light included camouflage in cinemas and regular testing on COVID-19 for visitors. He continues to release some of the most famous films of the year, including the best films nominated for “Drive My Car”, “The Worst Man in the World” and “Hero”. Cannes remains an unprecedented platform for the best in cinema, but is still subject to criticism of representation.


What most likely won’t be back anytime soon is the same number of parties that characterized the years when Harvey Weinstein was a ubiquitous figure at the festival. Concerns about COVID-19 have not disappeared. Participants will not be screened and are strongly encouraged to disguise themselves. Few non-restraining companies have a budget for lavish parties. The crowds return to Cannes, but to what extent?

“It’s going to be different than ever,” said Tom Bernard, co-president of Sony Pictures Classic and a longtime regular at Cannes. “Will they be throwing parties? Will they worry about COVID? Will everyone go there and try to ignore things? ”

Bernard noted that some practices in the Cannes market, when the rights to distribute films are bought and sold, remain virtual. He said the first meetings with vendors, during which executives and producers usually jump between hotels on the Croisette promenade, took place mostly on Zoom. The conclusion of transactions has become more focused. Cannes, known as arrogant and frivolous, may have become a little more sober.


“It’s a reshuffle of an event that has always been the same in every way,” says Bernard. “I think the routine will change.”

One thing that can be hoped for with iron confidence in Cannes is the frequent and fiery attempts to win the big screen, despite the constant major changes in the film industry. Some films, such as the film by Astlund, starring Woody Harrelson, hope to settle in the various movie worlds facing Cannes.

“The goal we set ourselves,” says Estlund, “was to combine the best parts of American cinema with European, to try to do something really entertaining and at the same time thought-provoking.”


Follow AP writer Jake Coyle on Twitter at:


For more information on the Cannes Film Festival, visit:

Copyright 2022 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or distributed without permission.

Source by [author_name]

Previous articleBlame Biden for the lack of a formula
Next articleНатоўп Уэмблі асвістаў прынца Уільяма падчас фіналу Кубка Англіі