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The Guardian
22-05-2025
- Entertainment
- The Guardian
On the road to somewhere … Cannes film festival reminds us world cinema and ‘globalism' are not the same
If Donald Trump really wants to save Hollywood, maybe he needs to venture outside his comfort zone and watch more European art house cinema. The Cannes film festival, which closes on Saturday, is in many ways the very definition of the 'globalism' that the American president's Maga movement despises. Walk past the queues snaking alongside the Palais des Festivals and you hear languages and accents from every corner of the globe. The Marché du Film, where industry professionals strike their deals, is brimming with smart people from all over the world beckoning US producers with irresistible tax incentives – resulting in the kind of movies 'produced in foreign lands' that the US president earlier this month proposed punishing with 100% tariffs. At the opening gala, Cannes gave Trump arch-enemy Robert De Niro a platform to rally the world of cinema against the US president, 'without violence, but with great passion and determination'. But then you sit down in a dark screening room at the Palais, the piano strains of Camille Saint-Saëns' Aquarius trickle over the Cannes trailer, and that distinction is not so clear any more. In French director Amélie Bonnin's opening film Partir un Jour, driven-but-stressed celebrity chef Cécile is preparing for the opening of her new haute cuisine diner in Paris when news reaches her of the ill health of her father, who runs a run-of-the-mill roadside restaurant called Pit Stop out in the sticks. Cécile's father ribs his daughter about her disdain for the unsophisticated palates of the 'yokels', but it's apparent from the outset that the film's sympathies lie a lorry-ride away from France's cosmopolitan centre. If at the heart of the culture war waged by Trump and his populist allies in Europe runs a divide between locally rooted 'somewheres' and cosmopolitan 'anywheres', Partir un Jour is very much a 'somewhere film'. It ultimately rejects shiso-flavoured lobster, roquefort panna cotta and Michelin stars in favour of boeuf bourguignon, hotdogs and Michelin tires. At Cannes, it turned out to be less of a duff note than the beginning of a theme. Everywhere you looked, there were stories with a very specific sense of place: of people who are stuck in remote locations (Palme d'Or-buzzy The Sound of Falling by German newcomer Mascha Schilinski, Scottish auteur Lynne Ramsay's Die, My Love) or return to them (French director's Dominik Moll's yellow-vests drama Dossier 137). The thrill of big-city living was rarely glimpsed on any of the festival's many screens. Turkish-German director Fatih Akin, who burst on the international scene 20 years ago with explosive urban drama Head-On, came to the Riviera with Amrum, a film set entirely on a remote North Sea island at the end of the second world war. Even Spanish director Oliver Laxe's techno-infused mystery drama Sirât is not set in a Barcelona night club but a desert rave. The left-behinds? They were not so much ignored as put centre-stage and armed with automatic rifles in 'elevated horror' director Ari Aster's Eddington, a Covid satire so even-handed in its mockery of pandemic follies that it has earned criticism of striving for 'Maga compatibility'. A more lenient view would be that film-makers should have no truck with the binaries conjured up by politicians in the first place, because art at its best dissolves them anyway. Some of the most interesting films at Cannes were somewhere-anywhere films, rooted in a place but allowed to grow outwards. Finnish film-maker Lauri-Matti Parppei's A Light That Never Goes Out, about a prodigy flautist who returns to his coastal family home after suffering a breakdown, sets out like Bonnin's but turns a familiar plot on its head: in rural Rauma, protagonist Pauli finds meaning not in folksy simplicity but in joining an experimental noise-core band. Akin's Amrum prods the eternal German subject of Heimat ('homeland') and comes up with unusual answers. What makes someone belong to Amrum, wonders the film's child protagonist at one point. His schoolmates reckon it requires one to be born there, while his Nazi mother believes it runs in the blood. But the island's oldest inhabitants tell him that's all nonsense: real Amrumers, they reckon, are those who leave the island at the first opportunity. 'Anywhere' films at Cannes were few and far between, but it's perhaps no coincidence that those that fit the tag were the ones with most box office potential: Christopher McQuarrie's eighth instalment of the globe-racing Mission Impossible franchise, and Wes Anderson's latest all-star ensemble piece The Phoenician Scheme, whose shady industrialist protagonist Zsa-Zsa Korda (Benicio del Toro) doesn't even need a passport, because 'I live anywhere'. They are anywhere films in terms of their production: M:I 8's big action set-pieces were filmed in London, Norway and thin air over South Africa, while The Phoenician Scheme is set in the fictional Middle Eastern-looking country of Phoenicia but was shot entirely in a studio in Babelsberg, outside Berlin, Germany. That may be expected of escapist films tilted at the box office, but also applied to two art-house productions with Hollywood involvement: Jennifer Lawrence-starring Die, My Love and Kristen Stewart's directorial debut The Chronology of Water are set in Montana, California, Texas and Oregon – and filmed in Canada, Latvia and Malta. These are clearly the kind of 'movies made in foreign lands' that Trump wants to see the back of. Yet over the course of the festival the consensus gradually shifted to the assumption that tariffs won't be the way it's done, because it would be unworkable. As Anderson asked sarcastically when questioned about the presidential film tariffs: 'Can you hold up the movie in customs?' 'Most people think it will just lead to the US copying the British model,' said Andreas Pense, a German lawyer who advises international film projects. The UK has by far been the most successful country in Europe at attracting American films, paying out £553m in tax relief to film companies in 2022-23. 'But the US would have to cough up an insane amount of money, and getting that approved won't be easy,' Pense added. 'American productions are just more expensive.' Some European countries with a presence at Cannes sounded surprisingly optimistic about standing their ground in a tax-incentive arms race with the US. Hungary, for example, does not just offer 30% in rebates to foreign producers making films in the central European state, but can also provide crews that are experienced and cheaper than those in the US, because unions pull much less weight in its cinematic sector than in the US. American productions being filmed outside Budapest this year include cold war spy drama Ponies, featuring Emilia Clarke and Haley Lu Richardson, and alien invasion comedy Alpha Gang, starring Cate Blanchett and Channing Tatum. Its trump card, Hungarian film professionals say, is that Budapest can impersonate anywhere in the world: Paris, Buenos Aires, Moscow, even London and New York. If you are making an anywhere film, what's to stop you? Perhaps the US president should take a leaf out of the rulebook of Dogme 95, the notorious Danish avant garde film-making movement. In Cannes, a group of Nordic five film-makers launched a reboot of the self-restricting school of cinema that brought forth Lars von Trier and Thomas Vinterberg. They retained only one rule from the original 1995 manifesto: 'The film must be shot where the narrative takes place.' A post on Truth Social, an executive order that binds all American directors to making American films set in America, and Hollywood's problems would be solved in one stroke. Next up: work out whether anyone would still want to watch those films.
Daily Mail
21-05-2025
- Entertainment
- Daily Mail
Hofit Golan bends Cannes Film Festival rules with plunging gown while Leonie Hanne hits the red carpet in a frumpy frock as they lead the WORST DRESSED stars at The History Of Sound premiere
From over-the-top ruffles and bizarre feathers to barely-there looks and weirdly-shaped frocks, the 78th Cannes Film Festival has been filled with fashion fails. The annual prestigious film festival - which is known for showcasing new movies from around the globe - kicked off in France on Tuesday, May 13, and will run until May 24. And during The History Of Sound premiere on Wednesday, some wowed in glamorous dresses and stunning looks, while others completely missed the mark with their ensembles. This included Hofit Golan, who stood out in a bold colourful embellished gown, with a dramatic matching necklace and a heart clutch bag. Her dress featured a plunging neckline which proved to be a daring choice given the increasingly conservative outfit guidelines. Meanwhile, Leonie Hanne hit the red carpet in a frumpy white frock with matching puff sleeves. The day before the event began, the Cannes Film Festival released a shocking dress code for its participants. The new rules, devised for 'the sake of decency,' were implemented as French director Amélie Bonnin's Leave One Day opened the ceremony. 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival,' read its official rule book. 'Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater are not permitted. 'The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' Heidi Klum broke the dress code by wearing a ruffled pink gown that indeed had a long train that trailed behind her. French actress and model Frederique Bel left a little too much to imagination in her cut-out gold dress, which she paired with a purse shaped like French fries. Chinese influencer and actress Wan Qianhui arrived to the event in a dramatic, strapless, white dress containing immense fluffy ruffles. Barbara Palvin wore a stunning pale pink feathered gown, but failed to iron out the creases before the event TV personality Farhana Bodi certainly ensured all eyes were on her... but for the wrong reasons. She walked the red carpet in a sparkly, pink dress, which contained an enormous piece of fabric that went around her head. British actress Erin Kellyman's white number contained a feathered neckpiece that looked like something a clown might wear. She paired the strange look with pointy boots. This year's Cannes Film Festival is taking place in the wake of Trump´s vow to enact tariffs on international films. Cannes, where filmmakers, sales agents and journalists gather from around the world, is the Olympics of the big screen, with its own golden prize, the Palme d'Or, to give out at the end. Filmmakers come from nearly every corner of the globe to showcase their films while dealmakers work through the night to sell finished films or packaged productions to various territories. But Trump sent shock waves through Hollywood and the international film community when he announced on May 4 that all movies 'produced in Foreign Lands' will face 100 per cent tariffs. The White House has said no final decisions have been made. Options being explored include federal incentives for US-based productions, rather than tariffs. This year, some of the first-time filmmakers at Cannes are already particularly well-known. Kristen Stewart (The Chronology of Water), Scarlett Johansson (Eleanor the Great) and Harris Dickinson (Urchin) have all unveiled their feature directorial debuts in Cannes' Un Certain Regard sidebar section. Many Cannes veterans have returned, including Tom Cruise (Mission: Impossible - The Final Reckoning), Robert De Niro - who received an honorary Palme d´Or 49 years after Taxi Driver premiered in Cannes - and Quentin Tarantino, who paid tribute to low-budget Western director George Sherman. Over recent years, the star-studded extravaganza has arguably won more attention for the outfits worn by its celebrity guests than the roster of feature films being screened on the Croisette. But new nudity rules, devised for 'the sake of decency', have been implemented at this year's festival. According to organisers, the austere move is an attempt to stifle the celebrity trend for 'naked dresses' - namely provocative outfits that reveal considerably more than they conceal - on the red carpet. 'For decency reasons, nudity is prohibited on the red carpet, as well as any other area of the festival,' states a Cannes festival document. 'The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' It's understood that the iconic venue now adopts a more conservative dress code, with suits, dinner jackets and floor-length evening gowns generally favoured over headline grabbing ensembles. Classic little black dresses, cocktail dresses, pant-suits, dressy tops and elegant sandals, 'with or without a heel', will also be permitted. While the decision to implement a more stringent policy will be a first, it is not known if French TV broadcasters, wary of airing nudity, played a role in its enforcement.
Geek Vibes Nation
19-05-2025
- Entertainment
- Geek Vibes Nation
‘Leave One Day (Partir Un Jour)' Review - A Feel-Good, Heartwarming And Atypical Opener
And we're off! With one of the most iconic mic drops ever, director Quentin Tarantino (Inglourious Basterds, Reservoir Dogs) opened the 78th edition of the Cannes Film Festival. Until the 24th of May, La Croisette will welcome the most prominent names in the industry, first-time filmmakers and everyone in between. Choosing the opening film for the biggest film festival in the world is undoubtedly a daunting task for General Delegate Thierry Frémaux. Still, this year's choice is as audacious and bold as possible and mostly pays off. Selecting a French directional debut certainly comes with risks, mainly because this is the first time in the festival's history that a debut is presented as an opener. However, Amélie Bonnin's part drama and part musical Leave One Day (Original title: Partir un jour) shows that some risks in life are worth it. When watching Leave One Day, you certainly don't feel that you're viewing the work of a first-time filmmaker. Yes, there certainly is a slight over-the-top and more poppy atmosphere hanging above this movie, which might be a giveaway that this won't be your typical Cannes film, but that doesn't take away from the immense achievement of Bonnin and her cast and crew. The feature shines as brightly as its leading lady, Juliette Armanet, who carries the work with moving, authentic, and down-to-earth acting as a cook from a small town in East France who is now about to open her restaurant in Paris. During Bonnin's initial short film, on which this movie is based, Armanet only had a smaller part, but now she's the fast-beating heart of the story. In the powerful screenplay that evokes every human emotion, Armanet makes it look like she has been cooking at the highest level for years, and her acting skills certainly match her character's cooking ability. A lot of flair, creativity, and depth are running through her multilayered performance (and dishes). Cécile Béguin's journey to achieve her ultimate culinary dream has ups and downs. Her dad, Gérard (François Rollin), just recently had his third heart attack, and she has recently found out that she's unfortunately pregnant. During a time in which her focus needs to be in Paris, she's now forced to return home. Being surrounded by her family and friends in a time of need might force Cécile to battle with prejudices from her family, society's views on motherhood, and the 'what ifs' of life. Still, for this feature, it's only a blessing that Armanet is surrounded by so many people, especially all the wonderful French acting talent. While the unrecognizable Bastien Bouillon (The Count of Monte-Cristo) sports a bleachy blond haircut, he delivers a funny, charming and warm performance as Cécile's biggest supporter and closest friend, Raphaël, and he certainly seems to be having a blast during his dynamic musical numbers. Femme Like U by K. Maro has never sounded or looked this great. Next time we go ice skating, we demand nothing less than what's happening in that beautiful and tender on-screen moment. Not every number can reach the same emotional and impactful level. Therefore, the narrative of both the songs and the feature in general weakens throughout its 98-minute runtime. However, occasionally, on-screen magic happens due to the live recording on set and the new arrangements and orchestrations. Bonnin and cinematographer David Cailley (The Animal Kingdom) decided to keep it low-key instead of using bombastic visuals or impressive set pieces. Because of the approach, the audience can connect even more with the characters and their everyday life. While this take on musicals might feel underwhelming, it certainly also brings veracity and uniqueness to this feature. Seeing Rollin (Plastic Guns) singing Mourir on stage while peeling potatoes? It could have been ridiculous, too much, or completely unnecessary, but it's heartbreaking, powerful, and right where it should be. It doesn't only show you that the father-daughter relationship will always be strong – no matter how heated the fights are – but also gives Rollin the chance to inject more emotions and personality into his performance. A performance that is sometimes overshadowed by Dominique Blanc (The Most Precious of Cargoes), who delivers witty, scene-stealing acting as his on-screen headstrong wife, Fanfan, and Cécile's overprotective mother. While the movie isn't perfect due to some narrative glitches, it's certainly a remarkable debut. Almost every aspect of life and death is being explored with a lot of sensitivity, emotions and a sharp eye for cinematography. It might not have the same grandeur and glamour as La Croisette, but sometimes a heartwarming, cleverly made and feel-good film like Leave One Day is all you need. Leave One Day held its World Premiere as the Opening Night film of the 2025 Cannes Film Festival. It is out now in French cinemas courtesy of Pathé Films. Director: Amélie Bonnin Screenwriters: Amélie Bonnin, Dimitri Lucas Rated: NR Runtime: 94m
News18
15-05-2025
- Entertainment
- News18
Amélie Bonnin Makes History As First Female Director To Open Cannes Since 1987; Reacts
French director Amélie Bonnin opened the 2025 Cannes Film Festival with her debut feature Leave One Day, a groundbreaking musical starring Juliette Armanet. The film received warm applause for its live-recorded songs and emotional storytelling, blending dialogue with music. Bonnin, the first woman to open Cannes with a debut, spoke about the importance of gender parity and creative risk-taking in filmmaking. Leave One Day is being celebrated for redefining the modern musical while spotlighting rising female talent in cinema.élieBonnin news | entertainment news live | latest bollywood news | bollywood | news18 | n18oc_moviesLiked the video? Please press the thumbs up icon and leave a comment. Subscribe to Showsha YouTube channel and never miss a video: Showsha on Instagram: Showsha on Facebook: Showsha on X: Showsha on Snapchat: entertainment and lifestyle news and updates on:
Yahoo
14-05-2025
- Entertainment
- Yahoo
Cannes Opener ‘Leave One Day' Arrives With Five-Minute-Plus Ovation
Amélie Bonnin's romantic dramedy Leave One Day (Partir un Jour) made history at the Cannes Film Festival this evening, becoming the first debut feature to ever open the event. It also got a five-minute-plus ovation from the crowd. More from Deadline 'Leave One Day' Review: Amélie Bonnin's Nostalgic Musical Debut Is A Stealth Charmer – Cannes Film Festival Cannes Film Festival 2025 In Photos: Opening Ceremony, 'Leave One Day' Premiere & Palme d'Or Honoree Robert De Niro Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Leave One Day builds on Bonnin's 2023 César-winning short film of the same name. The romantic musical revolves around rising chef Cécile (Juliette Armanet), who is about to fulfill a lifelong ambition of opening her own signature gourmet restaurant in Paris. Cécile is forced to put the project on hold when her father suffers a heart attack and she is called back to her small hometown. Exasperated at being cut off from her bustling life in Paris, she unexpectedly reconnects with a teenage crush, Raphaël (Bastien Bouillon). The meeting rekindles long-buried memories and leads Cécile to question past choices and the current direction of her life. RELATED: One of France's most popular contemporary singers, Armanet was introduced to international audiences last summer with her performance of John Lennon's 'Imagine' in front of a burning piano on a barge on the Seine River during the Opening Ceremony of the Paris 2024 Olympics. Co-written with Dimitri Lucas, Leave One Day is produced by Topshot Films and Les Films du Worso, in co-production with Pathé and France 3 Cinéma. Pathé International is handling world sales and Pathé Films has French rights. In keeping with Cannes protocol, Pathé Films released Leave One Day in France at the same time as the world premiere here at the festival. RELATED: The Croisette premiere followed an opening ceremony that saw Robert De Niro give an impassioned speech for democracy and the arts in the face of Donald Trump's sweeping funding cuts and proposed film tariffs. Best of Deadline Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far TV Show Book Adaptations Arriving In 2025 So Far Book-To-Movie Adaptations Coming Out In 2025
