No coffee, no Internet, in Cannes due to power outage
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No coffee, no Internet, in Cannes due to power outage
May 24, 2025 | 7:57 PM GMT
Cannes was temporarily running out of coffee and croissants on May 24 as a power outage hit southern France. It caused disruption in the host city of the world-famous Cannes Film Festival. One restaurant described the situation as 'catastrophic'.
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Benicio Del Toro: Imagination runs amok in 'Phoenician Scheme'
1 of 5 | Benicio Del Toro attends the photo call for "The Phoenician Scheme" at the Cannes Film Festival on May 19. Photo by Rune Hellestad/UPI | License Photo NEW YORK, June 6 (UPI) -- Oscar-winning actor Benicio del Toro says writer-director Wes Anderson meticulously plans every scene in his movies, but still welcomes input from his cast. "The approach is the same approach that I do on any movie I do. Just, I think, Wes wants you to be in the moment. He wants you to tell the truth, whatever that means," Del Toro, 58, said in a recent virtual press conference to promote his second collaboration with Anderson, The Phoenician Scheme, in theaters nationwide on Friday. "You have all this dialogue," Del Toro said, "but you can still bring a piece of yourself into it. And there's room for the imagination, too, to run amok. And you've got to have fun. Even if you're drowning, you've got to have fun." Co-starring Scarlett Johannson, Michael Cera, Bryan Cranston, Bill Murray and Tom Hanks, the espionage comedy is set in 1950 and follows Zsa-zsa Korda (Del Toro), an industrialist and arms dealer who wants to bring his estranged daughter Liesl (Mia Threapleton) -- a Catholic nun -- into his dangerous, top-secret business. It's Wes Anderson's world, we're just scheming in it. Focus Features (@FocusFeatures) June 6, 2025 "It's layered. It's full of contradictions, which makes it really yummy for an actor to try to bring to life," Del Toro said. "There is an element of my character wanting a second chance at mending a broken relationship. And I think that in the process in order to achieve that, he has to change and he does change. And I like to think that people can change. Not everyone changes, but I think some people can, and for the better." After previously working with Anderson on the 2021 hit The French Dispatch, Del Toro is used to the filmmaker's dense, quirky language. But, this time around, he has a larger role and a lot more to say. "There were a couple of moments where I went up to Wes and I said: 'Well, maybe we can take this dialogue out.' And, then, I went back to it and it wasn't as good," Del Toro recalled. "I had to go up to him and go like, 'I think you need to put it back because we're passing information that I think you need.' But that's why I couldn't join these people [in the cast] every day for dinner. I had to go up into my room and talk to myself." "You had a lot to say," Anderson agreed. "You took the time to absorb everything." Del Toro said another contribution he made to the project concerned Michael Cera's character Professor Bjorn, the tutor of Zsa-zsa's nine sons, who has a habit of sticking around when sensitive information is being shared. "I remember telling Wes, 'Well, I'm giving a lot of private information to my daughter and there is this stranger sitting right there. I feel uncomfortable as the character, giving all this information in front of a stranger. I'm telling her about my bank accounts and my everything, deals, with secrecy,'" Del Toro said. "Wes said to me, 'Well, we'll polygraph him.' And I went, 'Well, OK.' And, very quickly, he came up with this idea of a lie detector, which is a portable pocket polygraph," he added. "In 1950, it was probably the size of this building, but he made it into the pocket version." Despite the heightened reality, Anderson said this is essentially a father-daughter tale. "His whole business plan is really a mechanism for him to get back together with her," Anderson said of Zsa-zsa and Liesl. "He's acting like he's making her his successor and, really, it's more about what's going to happen between the two of them right now," Anderson added. "The business plan almost becomes like a ritual for him to be reunited with his daughter. ... In that sense, his plan goes great." Anderson first approached Del Toro about starring in this film after they wrapped up The French Dispatch. "I had a sort of the idea of a Euro tycoon, somebody who would've been in a [Michelangelo] Antonioni movie or something, that visual," Anderson said. "I did have this idea that he was probably hurting, that he was going to be in physical distress. Somehow, that was the image of this guy who you sort of can't kill." Over the course of time, however, this fictional man with a plan in a suit started mixing with Anderson's father-in-law Fouad Malouf, who, the filmmaker described as "an engineer and a businessman and he had all these different projects and different places." "He was a kind, warm person, but very intimidating," Anderson said. "He had all his business in these shoe-boxes. He walked [Anderson's wife] through his work at a certain point, because he thought if he is not able to see everything through, she needs to know what he's got. "And her reaction was what you say in the movie," Anderson turned to Threapleton, who immediately chimed in, "This is just crazy." "So, yeah, it was a mixture of those two things," Anderson quipped. "Fouad and whatever the first thing I said was."
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Just weeks after she was spotted in Cannes wearing dainty lace and summery Chanel, Emma Watson is trading in her ladylike fashions for a tomboyish look. Today (June 6) in Paris, the actor and activist opted for a bohemian-meets-utilitarian look. She wore a sheer black long sleeve with a knitted diamond pattern, which she styled with a pair of light-wash barrel jeans. Watson elevated the black top and blue jeans formula with her styling, accessorizing with a pair of chunky black boots and dangling, shoulder-grazing earrings. Emma Watson in Paris, June 2025. Iammeysam / BACKGRIDUSA But what caught our eye was Watson's outerwear: A thigh-length, toffee-colored barn jacket with deep, pronounced pockets, and a brown faux-leather collar. The coat hails from Pixie Market and retails for $219. Not only is it a reasonably priced piece of outerwear, it's made of 100 per cent cotton. A longtime proponent of sustainability—from vintage to deadstock, and even the 2016 Met Gala where she walked the carpet in a deconstructed Calvin Klein dress made out of recycled plastic bottles—it's no surprise to see Emma Watson invest in a sturdy cotton coat that will last a lifetime. But the wallet-friendly price tag is an added boon.
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Kevin Smith's fourth feature film is just as prescient now, on its 25th anniversary, as it was during its original release at the Cannes Film Festival before the turn of the century. Similar in approach to satires such as Verhoeven's Starship Troopers (1997) and Judge's Idiocracy (2005), Dogma criticizes all religious sects of Western society, from Catholics to Protestants to Agnostics. Whether you're a believer, denier, or contrarian, Smith has more than a few words for you. Dogma follows two angels, Loki (Matt Damon) and Bartleby (Ben Affleck), on a quest to earn their place back in heaven by walking through the doors of a Catholic church in the midst of a rededication, when all sins will be forgiven. If they can accomplish this, transfer into human form, and then die, they can return to heaven. A young woman named Bethany (Linda Fiorentino) works at an abortion clinic and struggles with her own religious beliefs, but is pulled into the fray and encouraged to stop the fallen angels. Fortunately, she's aided by two slacker prophets, the soon-to-be-infamous Jay and Silent Bob. Along the way, they continue to receive guidance from a seraph (Alan Rickman), a 13th apostle (Chris Rock), and a muse (Salma Hayek) as everyone is in a race to stop the plan unfortunately initiated by Cardinal Glick's (George Carlin) church, though Azrael (Jason Lee) is the original trickster that sets everything in motion. Since its debut, the cast of Dogma has all gone on to successful film and television careers, mostly in front of the camera, not to mention Ben Affleck's six directorial efforts and Chris Rock's balance of acting roles, comedy shows, and award show hosting duties. Many of Smith's frequent collaborators stem from films fleshed out thanks to casting director Don Phillips (Mallrats) or Shana Lory (Chasing Amy), but Smith certainly has an eye for talent and comedic potential himself. The director continues to play with genre in Dogma, as well as tropes and stereotypes, and the line between indie features and traditional studio films couldn't be any clearer. The film constantly oscillates between poking fun at Western religion and culture, the movie industry, the film itself, and everyday life in America in the 90s. Though controversial at the time and momentarily banned and delayed in a few countries, Dogma remains a classic. Though much of the dialogue in Dogma comes across as didactic and expository, the approach and overall tone are consistent and necessary. Especially considering the current resurgence of self-help books, conspiracy theories, and rampant misinformation on the internet. Dogma's willingness to speak directly to and through its protagonist, Bethany, and subsequently the audience, makes for a movie worth listening to, whether its ideology and dogma conflict with the listener or not. Smith's film is also worth revisiting considering the pace at which AI technology is pushing into the filmmaking space, especially since the industry is only a few years removed from the writer's strikes, which took place right on the heels of the COVID-19 Pandemic recovery. Smith's work always reminds us what we're capable of as a collective: a collective of nerds, a collective of young creatives, or a collective of cast-offs and forgotten spiritual beings. If anything, Dogma reminds us to remain curious enough to create and discuss our ideas with others. In honor of the 25th anniversary, the film has been beautifully restored through remastering and color-correction in 4K by Triple Media Film with legendary cinematographer Robert Yeoman (The Grand Budapest Hotel, Bridesmaids). The remastered version, currently on a US tour of 20 cities dubbed DOGMA: The Resurrection tour, began on Easter Sunday, April 20th, at the Grove in Los Angeles, with appearances from Smith and Jason Mewes. Dogma: A 25th Anniversary Celebration is now playing newly remastered in over 1,500 theaters across North America courtesy of Iconic Events.
