Latest news with #SentimentalValue
Daily Telegraph
2 days ago
- Entertainment
- Daily Telegraph
Elle Fanning: Sentimental Value star on Cannes Film Festival, Hunger Games prequel casting
Don't miss out on the headlines from Celeb Style. Followed categories will be added to My News. EXCLUSIVE: Whether she was wearing a powder-blue Chanel gown or a white T-shirt with the words 'Joachim Trier Summer' on it, Elle Fanning was the toast of the recent Cannes Film Festival. Nevertheless, Fanning confesses that fronting the press at the Palais des Festivals for the premiere of her upcoming film Sentimental Value – and as an ambassador for L'Oréal Paris – was 'nerve-racking' in the best possible way. 'My heart is pounding,' Fanning tells Stellar, recalling the moment she stepped onto the red carpet. 'It's like I have so many butterflies because it's just so magical. [Cannes] is a special place for me, I've been here with many films, I've got to be on the Jury. There's no feeling quite like it on the giant carpet at the Palais.' Elle Fanning in CHANEL at the closing ceremony of the 78th annual Cannes Film Festival at Palais des Festivals. Picture: Getty Images Picture: Getty Images Picture: Getty Images At 27 years old, Fanning is already a Hollywood veteran. She made her film debut at two in 2001's I Am Sam, playing the younger version of her actor sister Dakota Fanning's character. After that came a string of roles. There was Sofia Coppola's dreamy 2010 drama Somewhere, and Maleficent with Angelina Jolie in 2014. In 2017 she co-starred with Nicole Kidman in The Beguiled; and last year, she featured in the Oscar-nominated Bob Dylan biopic A Complete Unknown, opposite her close friend Timothée Chalamet as Dylan ('we had such a fun time', Fanning recalls). She will work with Kidman again in the upcoming TV series, Margo's Got Money Troubles, and was recently cast to play the role of Effie Trinkey in Hunger Games prequel, Sunrise On The Reaping. She was back in Cannes to promote the Joachim Trier-directed Sentimental Value, in which she fittingly portrays a young Hollywood star. Picture: Getty Images Picture: Getty Images The movie – already earning raves as an early Oscars contender – won Cannes' coveted Grand Prix after receiving a reported 19-minute ovation. Fanning says that working with the Danish-born Norwegian director was on her 'bucket list'. But like Kidman, who has famously vowed to work with a female director every 18 months, she is also keen to increase women's representation in Hollywood. 'There's so much more progress to be made,' she tells Stellar. 'But we're having these conversations and there are, hopefully, more opportunities being opened up for these talented female filmmakers.' When asked how she feels about being a role model to young women herself, Fanning pauses to consider those who have inspired her. At the premiere of "Affeksjonsverdi" (AKA Sentimental Value) at Palais des Festivals in Cannes, France, last week. Picture: Getty Images Elle Fanning and Renate Reinsve co-star in Sentimental Value. Picture: Getty Images Picture: Getty Images Elle Fanning and her Sentimental Value co-star, Stellan Skarsgard. Picture: Getty Images 'I have so many role models that have inspired me,' she says. 'I'm trying to learn from [them], and how they treated me, and try to kind of emulate that to younger girls that I work with. 'It's funny not being the youngest person on a film set now. 'I had a lot of people who were kind to me growing up and gave me advice. I just want to be that for people that I work with. 'It's so important for young women to have stories that are told from a woman's point of view. 'To show that you can express yourself and have the confidence to share your stories.' Part of that confidence, Fanning says, comes from her ambassador role with L'Oréal Paris, whose slogan is famously 'because you're worth it'. Picture: Getty Images for L'Oreal Picture: Getty Images for L'Oreal Musing on the sentiment, she says: 'It has nothing to do with stereotypical beauty as we see it. It really has to do with beauty from the inside, which comes from [having] the confidence to love yourself entirely and to treat yourself [with respect]. 'We are worth it to feel our feelings. We're worth it to be messy. Especially as women, we have the power. It's such a strong message.' While public appearances are now old hat for Fanning, she says it still takes her hours to get ready for events and premieres. Elle Fanning, right, with her sister Dakota in 2019. Picture: Getty Images As Fanning points out, it's about more than just how she looks. 'It's a three-hour situation to get ready for a red carpet for me,' she says with a laugh. 'I get up, I have coffee, I have breakfast – I put a face mask on. I put ice over the face mask that I use to de-puff from jet lag and travelling. I have a [L'Oréal] Revitalift serum that I use for my skin. 'I also try to calm myself because I know it's going to be nerve-racking. It might be a stressful day, so [it's important to] just kind of have the morning to yourself – and get going.' Read the full interview with Elle Fanning inside Stellar tomorrow, via The Sunday Telegraph (NSW), Sunday Herald Sun (VIC), The Sunday Mail (QLD) and Sunday Mail (SA). For more from Stellar, click here.
News.com.au
3 days ago
- Entertainment
- News.com.au
‘My heart is pounding': Elle Fanning on Cannes, red carpet routines and women in Hollywood
EXCLUSIVE: Whether she was wearing a powder-blue Chanel gown or a white T-shirt with the words 'Joachim Trier Summer' on it, Elle Fanning was the toast of the recent Cannes Film Festival. Nevertheless, Fanning confesses that fronting the press at the Palais des Festivals for the premiere of her upcoming film Sentimental Value – and as an ambassador for L'Oréal Paris – was 'nerve-racking' in the best possible way. 'My heart is pounding,' Fanning tells Stellar, recalling the moment she stepped onto the red carpet. 'It's like I have so many butterflies because it's just so magical. [Cannes] is a special place for me, I've been here with many films, I've got to be on the Jury. There's no feeling quite like it on the giant carpet at the Palais.' At 27 years old, Fanning is already a Hollywood veteran. She made her film debut at two in 2001's I Am Sam, playing the younger version of her actor sister Dakota Fanning's character. After that came a string of roles. There was Sofia Coppola's dreamy 2010 drama Somewhere, and Maleficent with Angelina Jolie in 2014. In 2017 she co-starred with Nicole Kidman in The Beguiled; and last year, she featured in the Oscar-nominated Bob Dylan biopic A Complete Unknown, opposite her close friend Timothée Chalamet as Dylan ('we had such a fun time', Fanning recalls). She will work with Kidman again in the upcoming TV series, Margo's Got Money Troubles, and was recently cast to play the role of Effie Trinkey in Hunger Games prequel, Sunrise On The Reaping. She was back in Cannes to promote the Joachim Trier-directed Sentimental Value, in which she fittingly portrays a young Hollywood star. The movie – already earning raves as an early Oscars contender – won Cannes' coveted Grand Prix after receiving a reported 19-minute ovation. Fanning says that working with the Danish-born Norwegian director was on her 'bucket list'. But like Kidman, who has famously vowed to work with a female director every 18 months, she is also keen to increase women's representation in Hollywood. 'There's so much more progress to be made,' she tells Stellar. 'But we're having these conversations and there are, hopefully, more opportunities being opened up for these talented female filmmakers.' When asked how she feels about being a role model to young women herself, Fanning pauses to consider those who have inspired her. 'I have so many role models that have inspired me,' she says. 'I'm trying to learn from [them], and how they treated me, and try to kind of emulate that to younger girls that I work with. 'It's funny not being the youngest person on a film set now. 'I had a lot of people who were kind to me growing up and gave me advice. I just want to be that for people that I work with. 'It's so important for young women to have stories that are told from a woman's point of view. 'To show that you can express yourself and have the confidence to share your stories.' Part of that confidence, Fanning says, comes from her ambassador role with L'Oréal Paris, whose slogan is famously 'because you're worth it'. Musing on the sentiment, she says: 'It has nothing to do with stereotypical beauty as we see it. It really has to do with beauty from the inside, which comes from [having] the confidence to love yourself entirely and to treat yourself [with respect]. 'We are worth it to feel our feelings. We're worth it to be messy. Especially as women, we have the power. It's such a strong message.' While public appearances are now old hat for Fanning, she says it still takes her hours to get ready for events and premieres. As Fanning points out, it's about more than just how she looks. 'It's a three-hour situation to get ready for a red carpet for me,' she says with a laugh. 'I get up, I have coffee, I have breakfast – I put a face mask on. I put ice over the face mask that I use to de-puff from jet lag and travelling. I have a [L'Oréal] Revitalift serum that I use for my skin. 'I also try to calm myself because I know it's going to be nerve-racking. It might be a stressful day, so [it's important to] just kind of have the morning to yourself – and get going.'
Yahoo
3 days ago
- Entertainment
- Yahoo
Screen Talk's Winners and Losers of the 2025 Cannes Film Festival
As IndieWire wraps up our Cannes Film Festival coverage — see our favorite films of the festival here and our annual critics survey here — so does the Screen Talk podcast. This week, hosts Anne Thompson and Ryan Lattanzio debate the late-breaking premieres like 'The History of Sound' and 'The Mastermind,' finally get a chance to gush over 'Sentimental Value,' and speculate on what countries might submit Cannes premieres for the International Feature Oscar. Since Iran will never submit its dissident director Jafar Panahi, who's back in his home country post-Cannes despite legal battles and decades of censorship attempts by the Islamic Republic, for Palme d'Or winner 'It Was Just an Accident,' we're going with Luxembourg as the country to pick this film for the Oscars. Both France and Luxembourg have production stakes in the film, though France will have plenty of other contenders to work with. More from IndieWire Cannes 2025 Films Sold So Far: Kino Lorber Buys 'Amrum' from Director Fatih Akin Ariana Grande Joins 'Meet the Parents 4' Cast with Ben Stiller and Robert De Niro Norway, no question, will submit Grand Prix winner 'Sentimental Value' from Joachim Trier, which Anne says has one of the great onscreen sister bonding moments of all time shared by actresses Renate Reinsve and Inga Ibsdotter Lilleaas. Both could be in the Oscar running with the right Neon campaign. (Check out our no-holds-barred interview with Tom Quinn on the ground here.) Anne finally saw 'Sîrat,' the French-Spanish co-production directed by Oliver Laxe, another late-festival Neon pick-up, despite watching some of it with her hands over her eyes. She compares the film to 'The Wages of Fear' and its remake 'Sorcerer' as a road odyssey in which trucks plow across the Moroccan desert. The great Sergi López stars as a father who, traveling with his young son, searches for his missing daughter amid marauding throngs of drug-fueled ravers. Ryan rewatched the film and has a better grasp of what it's trying to say now. That morning in Cannes, he just wasn't in the mood for this particularly fatalistic, dance-until-we-die apocalyptic vision. The hosts are split on Kelly Reichardt's anti-heist movie 'The Mastermind,' which rigorously stages with impeccable 1970 detail a story of a clumsy art thief (Josh O'Connor) falling down the hole of his own poorly hatched plan. Anne points out that Reichardt is 'slow as molasses' as ever, while Ryan lapped up the period elements and casting, even if the charismatic Alana Haim is gravely underused. Also, we wanted more heat (i.e. sex) from Oliver Hermanus' 'The History of Sound,' which features a great O'Connor performance as well as another moving turn from Paul Mescal. Ryan likes this film more than Anne, though they both admit it's a perhaps too handsomely made period love story. Finally, we share thoughts on the season finale of 'The Last of Us,' which ends with a soap-operatic-level cliffhanger that will keep us on edge for the show's return more than a year from of IndieWire Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
Yahoo
4 days ago
- Entertainment
- Yahoo
‘The Pitt' star Tracy Ifeachor thinks about Collins and Robby's backstory ‘all the time': ‘It just didn't work out because it's not the right time'
Tracy Ifeachor remembers the moment she knew The Pitt would be a hit — and it's not tied to any one episode or fan reaction. "I want to say something really profound here, but instead I'll say I remember coming in one day and saying to Noah [Wyle], 'Now I know this show is going to be an absolute smash hit because I got my identity stolen three times in the course of a week and all these different things happened,'" Ifeachor tells Gold Derby. "Got stuck in customs. I went, 'There's a lot opposing me when that happened.' I was like, 'Yeah, yeah, this is going to be something.' ... So when, like, 50 bad things happen on a single day, you've got to know that something great is coming around the corner." More from GoldDerby Everything to know about 'The Devil Wears Prada' sequel: Official release date set for May 1, 2026 Cannes 2025 wrap: 'Sentimental Value,' Jennifer Lawrence, June Squibb, and the 2026 Oscar contenders to know 'Ren Faire' director Lance Oppenheim on the corrupting influence of power and accidentally capturing 'America in miniature' In all seriousness, Ifeachor knew the medical drama was a special project from the start between the "amazing cast" and the involvement of executive producer and director John Wells. "I remember feeling like, 'Yeah, this feels special. It feels good. It feels right and truthful." A classically trained actor, the Brit was also attracted to the theater-esque nature of the show that unfolds over 15 episodes a season in real time. The Pitt shoots on a full hospital set in continuity, so everyone is basically around all the time, if not on camera. "I love this kind of, 'Roll up your sleeves. Everybody's there together.' I really enjoy working like that and I really enjoy collaboration. So that's the thing that really makes my heart sing when we get to collaborate," Ifeachor says. "There was a 10-minute discussion — didn't stop a camera — but it was a 10-minute discussion [about] whether or not I could roll my sleeves up because they had just seen me four minutes ago. So yes, they took it very seriously." SEE 'I've never been on a show that got this kind of recognition': Katherine LaNasa on The Pitt's success and Dana's 'existential crisis' As senior resident Dr. Heather Collins, Ifeachor exudes confidence, intelligence, and warmth. When Wells, Wyle, and creator R. Scott Gemmill gave her the character breakdown, they discussed Collins' "pursuit of excellence." Though it wasn't revealed in the first season, Collins went into medicine after a career in finance. "Her mentor convinced her to come into medicine, and she just loved it," Ifeachor says. "So I knew that she was a driven person. She's about her business and she's really caring kind and has a sense of compassion. And her humanity is really key. It's always on display, even when she's busy doing lots of different things." Ifeachor was also informed that Collins and Dr. Robby (Wyle) were exes, a plot point that's not revealed until the fifth episode. "I think Dr. Collins never thought she would see him again. And then here she is matched with the Pittsburgh hospital," she says. "So she ends up working with him, and they kind of have a few awkward moments, but they're full of joy because when someone really knows you, they know how to push your buttons, and you know how to push their buttons." Collins is indeed one of the few people who can call out Robby in the way only someone you're really intimate with can. She's the one who tells Robby, who's working on the anniversary of his mentor's death, to check his baggage at the door like they all do. The 15-hour shift is the worst day of Robby's life, culminating in his breakdown in the 13th episode, but as Ifeachor notes, it's also the worst day of Collins' life. She suffers a miscarriage at the end of the seventh episode — her second attempt with IVF — and has several cases during the day that involves pregnancy, babies, and children. For each and every one, she steadies herself and does her job. In the 11th episode, Collins takes charge of a complicated childbirth, one of the most graphically realistic births portrayed onscreen. Ifeachor pulled from her own experience with compartmentalization. She was diagnosed with dyslexia at 21 and struggled with learning lines, sometimes in a different dialect. They were "all these wonderful challenges that I love, but at the same time having to be on and being your own dialect coach and not having a coach on set... but having to still deliver no matter what, I kind of drew from that because it was a high-pressure situation," she says. "Collins is having a lot of pressure placed on her as well. So I feel like I felt like I kind of lived it." John Johnson/HBO The storylines involving children were all difficult because "every woman knows a woman who has had a miscarriage." Someone in Ifeachor's family lost a baby at seven months. "I still remember that child every now and then. I still think about that child," she shares. "And so coming to this with that kind of history — the whole thing is on [one] day — so you're always thinking about it. It's always on your mind. It was really challenging. It was really challenging. So I had no idea what it would end up looking like, whether it would be something that was really good or something that was there's just no way to know. Sometimes when you're actually making something — I knew the overall piece was good — but I really want to make sure that my part in it, [that] I'm not going to drop the ball for anybody, because this is a really important project, and it means a lot to all of us. And I'm really glad that it translated." Towards the end of the 11th episode, Collins and Robby have an emotional exchange in the back of an ambulance. She opens up about her fertility struggles before revealing she had an abortion a few years ago because she wasn't sure about the relationship. "I never told him," she says. "I was afraid. I was afraid of all of it. But mostly, I was afraid he'd hate me for being selfish." It dawns on Robby that she's talking about him. Robby tells her she was not selfish, and that "he" would forgive her and "he would want you to forgive yourself." "We all need a little bit more grace for ourselves, and then if we have that, we have it for each other," Ifeachor says. She and Wyle never spoke about the scene before filming it. "I think the key is just in those moments to just be really available to each other and just to embrace whatever the other person is giving you. And I feel like certainly I did that, and I feel like certainly he did that as well in that scene. And then just allow yourself to be surprised," she says. "You enjoy just being present with another person and creating something that wasn't there before. And obviously the writing really helped and did so much work for us as well." SEE The Pitt star Isa Briones loves the discourse around Dr. Santos: 'I just want people to feel something viscerally' It's unclear exactly why Collins and Robby broke up, but it doesn't take a brain surgeon to figure out it has to do with the latter not being fully emotionally available. Ifeachor thought about their backstory "all the time." "I was like, 'So what do you think of this?' They're like, 'Nope, nope,'" she says. Robby is "somebody that is not fully in touch with themselves because of trauma, because of just trying to keep going," she continues. "They're always going to feel like they're hiding a little bit of themselves, and that's kind of a lonely place to be in a relationship. And so, after however long of trying to get that part of him, I think you just have to accept the person is not able to give you what you might need in that relationship. And they're a good person. You're a good person. It just didn't work out because it's not the right time." The 11th episode is the last time fans see Collins in Season 1. Robby lets her clock out early and she misses the mass casualty incident that begins at the end of the episode. The team calls her, but she never returns, seemingly passed out and somehow completely disconnected from the world. "That was my question!" Ifeachor exclaims. "I was like, 'But uh...' I have, like, five devices. And I don't look at my phone anyway, and I remember trying to turn off my phone once for like an hour. I was like, 'OK, I'll just get an Uber Eats. Oh, wait, I need my phone for that.' I was like, 'Oh, I'll just get a ...' 'No.' 'What time is it?' My watch is off. It's like, 'This isn't working.' She was, like, curtains out. It had been a long 11 hours, let's just say, for her." But fear not: Collins will be awake and back in Season 2, which takes place 10 months later on the Fourth of July. "I know that there will be a lot of surprises. That is all I could tell you." Season 1 of The Pitt is streaming on Max. Best of GoldDerby How Eddie Redmayne crafted his 'deeply unflappable' assassin on 'The Day of the Jackal' TV composers roundtable: 'Adolescence,' 'Day of the Jackal,' 'Interview With the Vampire,' 'Your Friends and Neighbors' 'Your Friends and Neighbors' composer Dominic Lewis on matching the show's tonal shifts and writing the catchy theme song 'The Joneses' Click here to read the full article.
Yahoo
5 days ago
- Entertainment
- Yahoo
Breaking Baz @ Cannes: 'Even If I'm Fired, I Stay,' Declares Defiant Thierry Frémaux; Festival Victors Dance The Night Away After Strongest Selection In Years
Thierry Frémaux, the Delegate Général of the Cannes Film Festival, is propping up the Majestic Beach's main bar. The joint's buzzing, the victors being lionized after what has been acknowledged as a strong competition and selection, and I have the temerity to wonder idly when he'll retire. 'I don't know,' he murmurs. 'You know, in France the social contract is something different.' More from Deadline Cannes Winners: Palme D'Or Goes To Jafar Panahi's 'It Was Just An Accident'; Grand Prize Is Joachim Trier's 'Sentimental Value'; 'The Secret Agent' Scores For Wagner Moura & Kleber Mendonça Filho – Full List Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Including Palme D'Or Winner 'It Was Just An Accident' Cannes Winners Are Again Good For Neon But Create Confusing Picture For Oscar Race - Which Films Could Place In Both? 'Even if I'm fired, I stay,' he finishes defiantly. He laughs, then turns the tables and cheekily asks when I will retire. 'I don't want you to retire,' he says caressing my arm. 'Stay with us.' Fremaux first visited Cannes in 1979, driving from Lyon in a truck. Every day that year he remained on the Croisette without watching any movies 'because I couldn't attend any film. Each evening I used to go back to the highway and sleep in the car in the gas station.' Today (it now being the early hours of Sunday) he says, he will pick up his car at the Carlton 'and go back to Lyon like I was 19 again,' he says wistfully. 'It's in my tradition to come by car… we need to feel, I don't want to say forever young, but it is something like that. When you, me, whoever, are in the screening room there is no age. No young people, no old people.' Together we marvel over the diversity of the winners. There's Jafar Panahi, the Iranian-born director of Palme d'or winner It Was Just An Accident, and Norwegian Joachim Trier who took the Grand Prix prize for Sentimental Value. Oliver Laxe, director of Sirât, born in Paris to Galician emigrants, was joint Jury Prize winner with Berlin-born Mascha Schilinski the director of Sound of Falling, and so on all the way to Nigerian-born Akinola Davies Jr. who was garlanded with a Special Mention by the Caméra d'or jury for My Father's Shadow which was shown in Un Certain Regard. I note that Nadia Melliti who is French-Algerian heritage was named best actress for her beautifully captured performance as a young woman discovering her attraction for other women in Hafsia Herzi's The Little Sister, while it seemed that the the Cannes bubble was cheering for Jennifer Lawrence to win for Die, My Love – Lynne Ramsay's incendiary study of the disintegration of a marriage. Melliti tells me that Herzi's casting director discovered her 'walking along the street.' She'd never acted before. Her background was in sport. Now it's in acting. I tell Frémaux that it angers me that people forget that Cannes represents the whole world, not just the white western bit of it, and that cinema isn't just the shiny and splashy stuff from Hollywood. Nodding in agreement, Frémaux remarks that since the origin of Cannes 'we are universal,' and remembers John Ford's comment, 'Be local, you will be universal.' 'We are not in France,' says Frémaux. 'Cannes is not a French film festival. It's a film festival in France and it's an international film festival,' he says reminding me that its official name is Festival International du Film. 'We have for the first time Nigeria in Un Certain Regard. We have Czech, Iran… Cannes is a journey. We make that journey in the selection process.' He observes that in the past Asia meant films only from Japan. 'And then in the beginning of the new century, Korea, China, Singapore, Thailand. And now it's Africa and not only ex-French Africa,' while conceding that 'maybe not enough' attention had been paid to Africa: 'Again, it's a frustration of the festival' but 'we pay attention on what is going on everywhere …' He looks me in the eye because he knows I'm about to ask about America and the orangutan in the White House, and I mean no offence to the great apes. However, he cuts me off at the chase. 'Regarding, of course, the US and what is going on in the world, in cinema not only in Cannes, there is no border. The language is cinema, the emotion is cinema or cinema is emotion. And the emotion is the same wherever you were born.' I wonder if others will second my emotion that Ari Aster's Eddington is a masterpiece about the sad decline of the United States? Frémaux and I warmly embrace and I scoot over to Renate Reinsve who's so darn good in Trier's Sentimental Value. The actress is taking a break, she tells me, ahead of starring in Alexander Payne's already announced movie Somewhere Out There. 'Not one person has a bad word to say about Alexander and I'm looking forward to working with him,' says Reinsve, although she refuses to say what the film's about, except that 'it's a remarkable script.' Filming, she says, begins in February on locations in Denmark and Ireland. Stellan Skarsgård plays Reinsve's father, a film director, in Sentimental Value. I tell him that the character reminds me, in part, of Lear, except that his filmmaker overcomes his madness. Later, I chat briefly to Elle Fanning who, as I noted in a previous column, excels in Sentimental Value, just as she did in James Mangold's A Complete Unknown. Fanning plays a Hollywood 'type actress' in Trier's movie, but says, that she and the director tried not to make her a caricature. Whatever they did, it's some of her best work. She says that her performance was aided by the fact that she went from shooting Predator: Badlands in New Zealand directly to filming a beach scene with Skarsgård in Deauville. 'It was the kind of role my character might have played, so it was very meta,' says Fanning. Before he goes, I snap a few photos of Trier and his editor Oliver Bugge Coutté. They've been friends for years and, back in the day, shared an apartment with three others in St. John's Wood, NW London, while they were students at the National Film and Television School in Beaconsfield. The flat was ideally situated, he says, because it was close to Marylebone train station, 'just a few stops to the school,' where the late agent Jenne Casarotto first saw his work and signed him. He's still with the Casarotto Ramsay & Associates agency, represented by Elinor Burns. Akinola Davies Jr. shows the same devotion to his longtime agent Roxana Adle at LARK management. The My Father's Shadow director has been inundated since the film was shown at the festival. But he's staying firm with both Adle and Element's Rachel Dargavel. 'To get to me, they'll have to go through Roxana,' says Davies who was on a hike outside Marseilles when he received a message suggesting he return to Cannes in time for the closing ceremony. He was dressed in shorts, T-shirt and boots and his black-tie clobber was in a car miles away in Marseilles. Somehow, he and Nicholas Hayes,his producing partner at Red Clay Pictures, made it back to the Palais in time. I felt sad that Akinola's brother Wale, with whom he wrote the film, was not with him. However, I shall never forget when Davies's name was called and he stood up – and stood out due to his blond-dyed hair – and the world of cinema applauded him. I couldn't make out what he was saying; was it to the crowd or to himself, I asked? 'I have a little motto I repeat to myself when I'm nervous,' he responds, about not being alone and to be kind to yourself and others. Davies spent most of the night hanging out with Hayes, Dargavel, the BFI's Ama Ampadu, as well as Element's Emma Norton and producer Lee Groombridge who were producers on Pillion. Pillion's director Harry Lighton won the best screenplay honour in Un Certain Regard and he was on the Majestic Beach too and there was something touching about seeing them engaging and being supportive of each other. Spotting Jafar Panahi, I went over to pay my respects and to point out that his winning the Palme d'or had brought tears to Cate Blanchett's eyes. 'I saw that,' he acknowledges softly behind dark glasses he's still sporting at one in the morning. I play the room and the pier one last time. Then I hear the beat of Rock This Party (Everybody Dance Now). I look over to the dance floor and it sinks in that the world Frémaux was talking about is on that floor letting its collective hair down. The beat that brings us together must never stop. Best of Deadline 'Poker Face' Season 2 Guest Stars: From Katie Holmes To Simon Hellberg Everything We Know About Amazon's 'Verity' Movie So Far Everything We Know About 'The Testaments,' Sequel Series To 'The Handmaid's Tale' So Far
