As the dawn flight to Nice took off on the inaugural day of the Cannes movie festival, it bore striking resemblances to the iconic station scene in The Great Escape where the escapees come together inconspicuously. Among the passengers was Grainne Humphreys, who helms the Dublin International Film Festival, and nearby was Will Fitzgerald, the in-charge of curating films at Pálás Cinema in Galway. Director Colm Bairéad and producer Cleona Ní Chrualaoí, the team behind the Oscar-nominated An Cailín Ciúin, had brought along an already heavily used wardrobe of formal attire. Simultaneously, Irish screenwriter Thomas Martin, known for his high-end TV work like Raw and Ripper Street, was euphoric about the premiere of Lorcan Finnegan’s The Surfer at the festival’s midnight screening segment. Martin explains the echoes of John Cheever’s The Swimmer in the script, but admits he hadn’t envisioned such a grand stage as Cannes for the Irish-Australian film’s release.
Martin shared his excitement, “It’s absolutely overwhelming for me. Cannes is the zenith of cinema. For a Franchophile and a great admirer of European films, this feels bigger than the Oscars or indeed Hollywood.” The fact that renowned actor Nicolas Cage leads the film was something Martin couldn’t have predicted. However, he revealed, “It might sound unusual, but from the start, Cage was on my mind.” The Surfer, far from being a conventional actioner, delves into fatherhood and loss. According to Martin, working with Cage was fantastic as the actor is widely read, a cinema enthusiast, and deeply involved in his craft. “His infectious zeal for his work was a joy to witness. Seeing him breathe life into my script was an absolute exhilaration!” The Surfer is slated for its debut post-midnight on Sunday.
Nothing emits as powerful a French aura as the Cannes film festival’s grand opening ceremony.
At first glance, it resembles any other glamorous showbiz event. A plethora of stars, pulsating tunes, and copious amounts of weeping. But buried within is an eccentricity that the British or Americans would find hard to accept.
Host Camille Cottin, acclaimed for her work in Call My Agent, was warm and cordial in ushering Greta Gerwig to the spotlight. Nothing amiss there. The president of the jury this year is quite a beloved character.
“The reverence I have for this is profound,” quipped the director of Barbie. “Art is divine. Films are divine. It’s unbelievable that I’ll be spending the coming 10 days in this sanctuary.”
Things took a bizarre twist when Cottin declared they had a surprise for Gerwig. Surely they weren’t going to grant her an honorary Palme d’Or with a mere three films to her credit? Thankfully, they were not. French singer Zaho de Sagazan performed an oddly suggestive version of David Bowie’s Modern Love – a song Gerwig infamously replicated in Frances Ha – while edging towards her in a subtly menacing manner. Gerwig, an exceptional actor, however, seemed to relish the unexpected spectacle.
Honouring the ever-dignified Meryl Streep
As strange as the musical homage to Gerwig was Juliette Binoche’s genuine yet unusual tribute to Meryl Streep, who was indeed the recipient of an honorary Palme d’Or. Never before have I seen an appreciation conducted in such a peculiar way. The French actress read her tribute from a jumbled stack of paper, standing uncomfortably close to Streep. Upon hitting the line “you changed how we perceive women in cinema,” Binoche was so overwhelmed she could barely proceed.
All of this was strangely endearing in a world where anything out of the ordinary is typically anything but charming.
In her acceptance speech, Streep alluded to a peculiar anomaly, acknowledging those who influenced the decision to re-invite her to Cannes after a 35-year absence. Interestingly, Streep hasn’t attended Cannes in an official capacity since winning the best actress award for her performance in ‘Cry in the Dark’ back in 1988, a detail that seems rather odd. Reflecting on her win, Streep noted her trepidation at the time. She was a mother of three nearing 40 and feared her career was drawing to a close – a reasonable expectation for actresses during that era. She attributed her continued presence in the industry to the talented lot she had the chance to work with, including Madam Gerwig, who directed her in ‘Little Women’. Evidently, Meryl has remained a dignified figure in the industry.
Meanwhile, the #MeToo saga continues to cause a stir at Cannes. Accusations leading to Harvey Weinstein’s undoing have their roots in events at this festival. Following the recently overturned conviction against Weinstein in New York, gossip about a damning list detailing ten abusive men within the French industry is doing the rounds. French press reports hint at the festival assembling a crisis team to handle potential scandals, while there’s also speculation about a strike that could substantially disrupt the festival.
Jury president Gerwig addressed these issues deftly during a news conference. She expressed support for labour movements and wished for an agreement that benefits all parties. Gerwig also emphasised the need for worker protections and a decent wage. In regard to the #MeToo matter, Gerwig noted significant change within the American film community, signalling the importance of carrying forward the conversation.
We feel compelled to inform you that after just a single grand screening, the buzz around standing ovations has already commenced. Reports on the largely entertaining French comedy, The Second Act (critiqued below), was given a so-called “tepid” 3.5-minute pause have made rounds in the industry, setting a precedent for timing and evaluating audience reactions. This practice needs immediate cessation – we’re not spectating a game of American football. Not everything lends itself to statistical assessment. Rather intriguing was the slight discomfort when the Netflix emblem was displayed. The relationship between Cannes and the streaming giant is still fraught with tension.
Capturing attention: The dog star ‘takes a break’ for photoshoots
Critique: The Second Act
French maverick Quentin Dupieux stands out for his unique style. His films like ‘Smoking Causes Coughing’ and ‘Deerskin’ showcase a flair for the bizarre that navigates a disconcerting path between Monty Python and Eugène Ionesco. His latest creation, chosen for the Cannes curtain-raiser, strikes the perfect balance – it’s light-hearted, funny, and stars Cannes favourite Léa Seydoux. Keeping time in mind, just like most of Dupieux’s films, The Second Act is short – ensuring attendees of the inaugural ceremony don’t keep their yacht celebrations waiting.
Many described it as a humorous portrayal of the first film directed by AI, which seems to understate its real charm. In fact, even without the AI component, the unique appeal of any Dupieux film can still be felt. This is his signature style.
The plot of The Second Act features a down-at-heel middle-aged man, Manuel Guillot, unveiling his eponymous restaurant in a desolate landscape reminiscent of a Beckett play. The narrative unfolds with one extended shot of David (Louis Garrel) and Willy (Raphaël Quenard) discussing strategies to address David’s disinterest in his girlfriend. The narrative’s complex nature unfolds when Willy makes offensive remarks about transgender people, and David informs him they are on camera, implying their awareness of being characters in Dupieux’s film.
Switching to Seydoux and Lindon, portraying the roles of a girlfriend and her father, they find themselves in a heated debate about some matter or another. A phone call interrupts, lifting Lindon’s mood instantly. It’s Paul Thomas Anderson with an invite to star in a movie. So are the lines in this segment a mash-up of actual script dialogue and personal concerns of the actors themselves? Hold on a moment. Is that accurate?
This scenario could easily result in a considerable headache, yet the vivacity of the script and the swift adaptability of the performers ensure that the performance doesn’t stall. It’s authentically hilarious. Even in its simpleness, it’s cunningly intelligent.