Gossip has been ripe concerning Cate Blanchett’s Jean Paul Gaultier gown which was curated by Haider Ackermann, which bears a stark resemblance to the colours of the Palestinian flag. However, the standout fashion trend sweeping the Croisette is one that’s long overdue for a festival where sun protection is crucial: stars donning hats.
The hat-fuelled week started with Anya Taylor-Joy who stepped out in an expansive wide-brimmed Jacquemus straw hat, pairing it with a daring, form-fitting Atlein gown. The actress was also seen in a glossy beaded headdress by Jil Sander for the Furiosa: A Mad Max Story photocall. Emilia Perez’s red carpet was a hat parade, showcased by Rossy De Palma and Yseult. Margaret Qualley, arriving for a press briefing for Element Pictures’ latest Yorgos Lanthimos film, ‘Kinds of Kindness’, styled a Chanel outfit with a wide ivory hat that fans found reminiscent of a similar one worn by her mother Andie McDowell in ‘Four Weddings and a Funeral’.
The launch of Jacques Audiard’s film, Emilia Perez, was a highly emotive occasion. Zoe Saldaña couldn’t hold back her tears during the film’s nine-minute standing ovation which also moved Selena Gomez to tears, leading to tears all round. Days later, Saldaña, with regal demeanor, expressed her feelings about that touching moment at a Kering Women in Film event. Her thoughtful interview covered an array of topics from menopause to scripts she gets related to space (approximated at seven out of ten), and even tackled gender inequality in Hollywood: “The need for more female CEOs and women in board positions is pressing. And once they get there, they shouldn’t just be content with being the insignificant female representation… Encourage three men to give up their chairs.”
Despite an illustrious career, Saldaña astonished everyone with her riveting performance in Emilia Perez. This daringly creative crime opera was intriguing right from its initial draft.
Cannes 2024: Logbooks filled with celebrity’s latest fashion trends: Hats. As the festival progresses, the captivating rebirth of Nicolas Cage continues under the leadership of Irish director, Lorcan Finnegan.
Cannes 2024: The Apprentice review – Notions of the popular series Succession loom over the contentious Donald Trump biopic.
“She talks about it being an opera and a musical. It is about a drug officer who needs to transition to a woman, and you, as an actor, will play the attorney assisting him in his journey. And by the way, it’s in the Spanish language and it’s based in Mexico. This move from the story’s inception to its presentation at the festival and seeing its emotional impact on people, I’m at a loss for words. When film is this extraordinary and refreshing, its effect on you is profound. I am not being self-centered, I speak from the standpoint of someone who is profoundly in love with art.”
Despite the social media outcry about Mexican actors — with the leading actress Karla Sofia Gascón actually being from Madrid — Saldaña emphasises that Mexico is a “cultural mix”. Her own background also serves as a counterpoint to those who champion casting purity. Born in New Jersey and brought up in New York, she moved to the Dominican Republic after her father’s death in a car accident. Her Puerto Rican mother stayed in New York to work and afford private education for her three daughters.
“Spanish is my first language,” announces Saldaña. “Being given the opportunity to portray someone of a darker complexion in my native language, brings up complex discussions about immigration and a hint of colonisation. As Latinos, we might need another 500 years at least to finally break free from this.”
Saldaña had been juggling significant roles in three major film series: Star Trek, Pirates of the Caribbean, and Guardians of the Galaxy. She later added the Avatar series by James Cameron to her portfolio, propelling her to become the fourth highest-earning actor of all time with over 14 billion in box office revenue.
“I’m deeply thankful for the journey I’ve had,” she remarks. “And for the opportunities that came my way from a young age. Being a little girl from Queens, New York, and ending up in a James Cameron film? This propelled me into a fully-fledged career that continues to enlighten me. Had I tried to plan this, it wouldn’t have happened.”
Discover five interesting facts about Faye Dunaway from Laurent Bouzereau’s latest biodoc:
– Born Dorothy Faye and raised in Florida, Dunaway was a southern belle and a beauty contest winner who also was a cheerleader during her younger years.
– Her father, John MacDowell Dunaway Jr., was a devoted noncommissioned officer in the US army. His struggle with severe alcoholism led her mother to write to the war department, pleading for him to be drafted.
– Dunaway’s relationships with her colleagues have not always been smooth sailing. Long before Dunaway was fired in 2019 for slapping a stagehand during a Broadway show, Bette Davis had told Johnny Carson that Dunaway was “the most challenging person she had ever collaborated with”.
– She has a bipolar personality disorder and has been part of Alcoholics Anonymous for 15 years.
– Even though she was previously wedded to J. Geils Band’s Peter Wolf and photographer Terry O’Neill, she declared Marcello Mastroianni as her true love. Their passionate affair of two years ended when he chose not to leave his Catholic wife.
A separate review highlighted how Seán Baker, a compelling storyteller of modern decadence, has impressively revived the screwball comedy genre. The film Anora is a rowdy affair where no character ever says “Hallelujah”, instead, they are constantly caught up in verbal conflicts, maintaining the frantic pace similar to the classic His Girl Friday.
The young Uzbeki-American title character in Anora was delightfully brought to life by Mikey Madison, in a mildly vulgar yet exciting version reminiscent of Pretty Woman. Anora, who prefers to be called Ani, is an attractive young woman from Brooklyn who works in a somewhat tasteless strip club. A naive Russian youth, Ivan Zakharov, played by Mark Eydelshteyn, breezes into the bar one day and the pair hit it off. Ivan, who happens to be the offspring of an obscenely wealthy man, can afford to fly them to Vegas for a sudden matrimonial celebration, thanks to his never-ending wealth.
As soon as the events unfold, hired muscle is promptly sent. Toros, the Armenian enforcer played by Karren Karagulian, orders his henchmen, Garnick and Igor (played by Vache Tovmasyan and Yura Borisov of Compartment Number 7 respectively), to clean up this mess by nullifying the marriage. Unsurprisingly, an uproar ensues, with silly violence and swearing filling the air. Ani shows her feisty side by continuing to harm her clueless adversaries.
A brilliant cast energetically drives Baker’s budget Lubitsch towards an unforeseen sobering conclusion. Clever notes about wealth, social status, and influence are subtly scattered through this rowdy commoner escapade. I am placing my bet for the highest honour at the Cannes Film Festival- the Palme d’Or.
As observed and reviewed by Emilia Perez.
Jacques Audiard is a film director and screenwriter highly recognised in past Cannes festivals. His films ‘A Prophet’ bagged the Grand Prix in 2010, while ‘Dheepan’ clinched the prestigious Palme d’Or in 2015. He was also a contender in the official competition with ‘Rust and Bone’ in 2012 and recently with ‘Paris, 13th District’ in 2021. This year, he presents us with a provocative yet edgy musical drama television series that pivots around Zoe Saldaña’s characters, a loyal attorney set on a mission to assist Manitas, the intimidating head of the Mexican cartel played by Karla Sofía Gascón, in the sex reassignment operation. Exhibiting trademark Wit, Audiard playfully tackles heated subjects with a combination of music, light-heartedness, and empathy. The narrative draws parallels to Xavier Dolan’s innovative ‘Laurence Anyways’, merging self-fulfillment with difficult, emotionally charged predicaments. The outcome delivers the eponymous heroine, a transformed individual striving to rectify past mistakes. As a measure to restitution, Emilia Perez initiates a charity to aid those affected by the atrocities of drug cartels and, under the guise of an aunt, gathers the family she alienated, including the anguished ‘widow’ of Mantias, portrayed by Selena Gomez. The cast seasoned performances effectively convey the immense emotional spectrum leading to literal and symbolic climactic events. Ultimately, Audiard’s creation artfully reshapes the musical genre, straddling the blurred line between drama and music. Elements of choreography, cinematography, and design all accentuate his speech-song trademarks.
Review: ‘The Sufurcer’.
Nicolas Cage continues to demonstrate his prominence, starring in this tense Ozploitation thriller that offers the perfect backdrop for the versatile actor with a penchant for metatextual jests. He portrays a tormented hero in Irish filmmaker Lorcan Finnegan’s latest movie, reminiscent of the equally troubled characters he played in past flicks like Wild At Heart and Mandy. Cage’s distraught character – a mysterious businessman – re-visits his childhood sanctuary, an Australian beach that’s now overrun by a threatening, macho surfing cult whose motto is, “If you don’t reside here, you can’t surf here”. This instigates a hasty retreat for Cage and his mortified teenage son. Nevertheless, Cage stays nearby, whilst insults and discomfort continue to amass. The concurrent nature sounds and wildlife shots heighten the mounting tension. Come the final segment of the film, the viewer and Cage are left in confusion, thanks to Thomas Martin’s deceptive script and Radek Ladczuk’s creative cinematography. The film acknowledges its genre predecessors, like Wake in Fright, but the deceptive beauty of the blue sky contributes to the overall horrifying experience. In the words of the intimidating surf instructor, Scally (Julian McMahon), “An individual must endure hardship before they can surf.” Cage continually meets this condition in what can be described as a captivating B-movie.