THE

WE’VE GOT CANNES COVERED MAY 2018

EXCLUSIVE

Directors Portfolio: Spike Lee, Debra Granik, Jafar Panahi, PENELOPE CRUZ Alice Rohrwacher, Jia Zhang-ke, & JAVIER BARDEM Paul Dano and more RETURN TO CANNES IN ASGHAR FARHADI’S EVERYBODY KNOWS

Plus: Uneasy times for the market; the Netflix problem; Cannes’ new rules IFC FILMS IFC1077 THE WRAP - CANNES ISSUE MECHANICAL SIZE FINAL TRIM: 9.65” W X 13.38” H 4/24/18 3:14PM KH BLEED: 10.15” W X 13.88” H SAFETY: 8.6” W X 12.38” H Contents CANNES I MAY 2018

22Paul Dano was photographed for TheWrap by Rick Wenner at Rucola in New York on April 20, 2018

FEATURES

16 TWO TO TANGO Javier Bardem and Penélope Cruz get desperate in Asghar Farhadi’s Everybody Knows

22 DIRECTORS PORTFOLIO 2018 Spike Lee, Jafar Panahi, Alice Rohrwacher, Paul Dano, Matteo Garrone, Debra Granik, Ramin Bahrani and eight more DEPARTMENTS 10 The New Rules: auteurs are ready for Cannes What will it mean to 4 By the Numbers: have no selfies, no Doing the math on this Netflix and no advance year’s lineup press screenings?

4 Bienvenue, Hollywood: 12 What (and Who) to Another Star Wars movie Watch: Don Quixote, is business as usual on HAL 9000 and breakout the Croisette star Laura Harrier

6 Women’s Work: The 14 Market Value: Is it history of female directors time to worry about the in Cannes isn’t pretty Cannes marketplace?

8 Critic’s Choice: Ben Croll 36 Stop Signs: 50 years ago, takes a look at who’s in politics halted Cannes and who’s missing dead in its tracks FRONT & CENTER / Editor’s Letter

Sharon Waxman with Spike Lee at TheWrap’s 2017 THE WRAP MAGAZINE Cannes Film Festival Inuencer Dinner EDITOR-IN-CHIEF Sharon Waxman

AWARDS EDITOR CREATIVE DIRECTOR Steve Pond Ada Guerin

DEPUTY EDITOR Steve Root

VICE PRESIDENT, SALES Caren Gibbens

SALES Michael Kosasky, Brit Grant

ASSOCIATE ART DIRECTOR Otavio Rabelo

DISTRIBUTION Kensie Sanchez

ASSISTANT ART DIRECTOR Ava Selbach

CREATIVE ASSISTANT Tatiana Leiva

THE WRAP EXECUTIVE EDITOR TIm Molloy

MANAGING EDITOR Festival Fever Thom Geier EDITORS FILM If it’s May, the film world’s elite will be Meriah Doty, Debbie Matt Donnelly, Emery, Tim Kenneally, Jeremy Fuster, heading to the South of France—and once Daniel Kohn, Ross A. Umberto Gonzalez, Lincoln, Rosemary Rossi again, TheWrap will be there Beatrice Verhoeven, REVIEWS EDITOR Trey Williams Alonso Duralde VIDEO TELEVISION Paul Nyhart, ver since I launched TheWrap in 2009, we’ve been heading to Cannes Tim Baysinger, Ashley Francisco Delgado, Boucher, Jennifer Maas, Chuckie Fuoco to be a part of the most prestigious and headiest film festival in the Tony Maglio, Reid Nakamura world. In our early years, I was our only reporter on the ground SOCIAL/AUDIENCE in France, with help from the film team back in Los Angeles—but MEDIA/TECH Laura Bene¡el, Clint Black, our presence has grown over the years, to the point where I’m now Sean Burch, Phil Hornshaw, Itay Hod, Jon Levine Phil Owen Eaccompanied by a team that includes awards editor Steve Pond and critic Ben Croll, while also hosting our second annual Influencers’ Dinner and our first-ever portrait studio. And for the fifth year in a row, we’re publishing OUR TEAM IN CANNES this special Cannes print issue, in which we’ve turned photographers loose to Sharon Steve Ben capture Spike Lee and Paul Dano in New York, Alice Rohrwacher in Berlin, Waxman Pond Croll Matteo Garrone in Rome, Jig Zhang-ke and Christophe Honoré in Paris, A.B. Shawky in Egypt, Debra Granik in Minneapolis and David Robert Mitchell in Claude Geneviève Kathy L.A., among others. We also have inside stories from the making of Asghar Memmi Caron Selim Farhadi’s Everybody Knows, starring PenPenélopeélope Cruz and Javier Bardem, along with insights about the festival, the market and the movies that everybody doesn’t know, but should. Once again, we’ll see you on the Croisette! W Read the Best 24/7 Coverage of the 2018 Cannes Film Festival at TheWrap.

(c) 2018 TheWrap News The Wrap News is the leading digital news organization covering the business of entertainment and media. It includes TheWrap.com, the award-winning, industry-leading outlet for high-profile newsbreaks, investigative stories and authoritative analysis; The PowerGrid, the most current, relevant film development database; and TheWrap Events, which includes The Grill, an executive leadership conference centered on THE SHARON WAXMAN the convergence of entertainment, media and technology. WE’VE GOT CANNES COVERED MAY 2018

EXCLUSIVE EDITOR IN CHIEF Directors Portfolio: Spike Lee, Debra Granik, Jafar Panahi, PENELOPE CRUZ Alice Rohrwacher, TheWrap won the L.A. Press Club’s National Entertainment Journalism Jia Zhang-ke, & JAVIER BARDEM Paul Dano and more RETURN TO CANNES IN ASGHAR Award for best online film/TV/theater feature in 2017 and top FARHADI’S EVERYBODY KNOWS prizes for feature photography and Sharon Waxman’s WaxWord blog in 2016. On the Cover The site was named the best online news site in both 2009 and 2012 by the same group. TheWrap was named one of the “100 Most Important Javier Bardem and Online Publishers” in 2010 by OMMA, the magazine of online media, marketing Penélope Cruz were and advertising. CREDITS NOT CONTRACTUAL photographed for TheWrap by Nico Bustos CHECK OUT THEWRAP ONLINE

Plus: Uneasy times Sign up for our email alerts at thewrap.com/subscribe/. for the market; at Studio Q 17 in Madrid the Netflix problem; Cannes’ new rules on April 20, 2018 For advertising inquiries, contact [email protected] or call (424) 248-0662 CANNES 2016 . PALAIS . Riviera J1

2 THEWRAP MAY 2018 Tel: +33 (0)4 92 99 32 35 CREDITS NOT CONTRACTUAL

CANNES 2016 . PALAIS . Riviera J1 Tel: +33 (0)4 92 99 32 35 FRONT & CENTER / By the Numbers Cannes by the Numbers

Directors in competition this year who have had lms in the main competition 11 in the past

3 Competition directors who have had at least ve movies at HOLLYWOOD Cannes: Jean-Luc Godard, Jia Zhang-Ke, Kore-eda Hirokazu

ON THE Competition directors who have had lms at Cannes but not in the main 7 competition: Sergey Dvortsevoy, Yann Gonzalez, Nadine Labaki, David CROISETTE Robert Mitchell, Jafar Panahi, Pawel Pawlikowski, Kirill Serebrennikov BY STEVE POND 3 Competition directors who have never had a lm in any section Solo: A Star Wars Story isn’t the of Cannes: Ryusuke Hamaguchi, Eva Husson, A.B. Shawky first high-profile Hollywood block- buster-to-be to go to Cannes, or the first Ron Howard movie, or even the first Star Wars movie. In fact, from the start the festival has 1 Competition directors who have won the Palme d’Or: Nuri Bilge Ceylan mixed art-house fare with a passel of mainstream Hollywood produc- tions. For instance: Out-of-competition directors who have won the Palme d’Or: 1 Wim Wenders for Paris, Texas

1946 The first year of its existence, the festival Competition directors whose lms have won the Academy finds room for Alfred Hitchcock’sNotorious , David 2 Award for Best Foreign Language Film: Pawel Pawlikowski Lean’s Brief Encounter and Billy Wilder’s The Lost for Ida, Asghar Farhadi for A Separation and The Salesman Weekend ay Milland wins the Cannes best actor award for the last of those films, just as he would later win the Oscar. Competition directors who have won an Academy Award 0 for Best Picture

1947 Out-of-competition directors who have won an Academy Walt Disney’s 1 Award for Best Picture: Ron Howard for A Beautiful Mind Dumbo makes the cut and wins an award for animation design. Directors in the oŒcial selection who are older than the 3 festival: Carlos Diegues, Jean-Luc Godard, Wim Wenders

1951 Beginning a 0-year streak in which seven Oscar Best Picture winners screen in Age of the youngest director in the competition, A.B. Shawky Cannes, All About Eve hits the Croisette. 33

87 Age of the oldest director in the competition, Jean-Luc Godard 1952 An American in Paris opens the festival but loses the Palme d’Or to enato Castellani’s Two Cents Worth of Hope and Orson Welles’ Othello.

1954 Fred inneman’s From Here to Eternity wins a special Cannes award and later, the Oscar Competition lms by continent: but misses out on the Palme.

Marty becomes the only 1955 Africa Europe* Asia* film to win the Palme and the 0 9 10 Best Picture Oscar, beating out a Cannes field that also includes East of Eden. 2 North America 0 South America 1957 Around the World in 80 Days, a romp that is not considered one of the better Best Picture winners, nonetheless lands the opening- night spot in Cannes. *Because Russia (Leto) is in both Europe and Asia, it was counted for both. W 4 THEWRAP MAY 2018 FESTIVAL DE CANNES • MAY 15, 2018 Cannes by the Numbers

FESTIVAL DE CANNES • MAY 15, 2018 FRONT & CENTER / Women’s Work Cherchez la Femme

annes has a dismal record of showcasing the work of female Percentage of Women in C directors, probably because Cannes’ Main Competition the rarefied club of Cannes-approved art-house auteurs has for decades been 1946-49 .93% 1 out of 107 predominantly male. Oversights and snubs HOLLYWOOD are easy to find: It’s hard to imagine, for 1951-59 .90% 3 out of 332 instance, that Agnieszka Holland, Julie Created in Atlanta, 8 out of 294 ON THE Taymor, Mira Nair, Kelly Reichardt or 1960-69 2.72% Elaine May haven’t warranted spots on 1970-79 4.22% 10 out of 237 CROISETTE the Croisette, or that Agnès Varda hasn’t made for the world. deserved more than her single placement 1980-89 6.28% 14 out of 223 1958 Vincente Minnelli’s Gigi screens in in the main competition, which she got in Meet THEA, your guide to tomorrow’s Cannes out of competition, putting it out of the 1962 for Cleo From 5 to 8. 1990-99 2.73% 6 out of 220 running for the Palme. But things are getting better. Of the most creative talent exclusively from the A. 11 times that three or more women have 2000-09 8.56% 19 out of 222 placed films in competition, eight have 1960 One month to the 2010-18 10.33% 19 out of 184 come in the last 13 years. Three women THEA is the first ever city-based video day after winning Oscars, made the cut in 2006, 2007, 2009, 2015, William Wyler’s Ben-Hur 2016, 2017 and 2018 and four did so in 2011. streaming platform, showcasing Atlanta’s opens Cannes. Cannes faced immediate criticism this year for only including Alice Rohrwacher, Eva Husson creators and storytellers. Now viewers around and Nadine Labaki among its 21 competition directors, but festival chief Thierry Frémaux insisted the world can access exclusive content such 1963 While the Palme d’Or goes to Luchino that he will never make gender a programming factor. Still, the Un Certain Regard section has six Visconti’s The Leopard, Cannes welcomes solo women directors and one co-director among its 18 films, while the independent Critics’ Week as films, documentaries, pilots and original a bumper crop of Hollywood productions, competition finds women outnumbering men four to three. — STEVE POND programming that highlights Atlanta’s including Robert Mulligan’s To Kill a Mockingbird, Robert Aldrich’s What Ever Happened to established and emerging talent. See for Jane Campion wins the Palme Baby Jane? (both in competition) and Alfred 1993 d’Or for The Piano, making her yourself on iOS, Android, AppleTV and Roku. Hitchcock’s The Birds (out of competition). Festival Milestones the ¡rst (and still the only) female director to take home Cannes’ top prize. WELCOME TO THE A. The winds carry Mary Poppins on The ¡rst year brings the ¡rst 1965 1946 For the ¡rst time ever, women her umbrella from London to Cannes for the female director in competition: 1998 make up 50 percent of the th festival. Barbara Virginia, Tres Dias Sem Deus. Cannes’ jury, with ¡ve of the 10 slots going For the ¡rst time, two women are to writer-director Zoé Valdés and actress- 1954 1969 A year after student protests bring chosen for the main competition: es Chiara Mastroianni, Lena Olin, Sigourney the festival to a halt see page 36, the Carmen Toscano, Memories of a Mexican and Weaver and Winona Ryder. counterculture again comes to town in the Kinuyo Tanaka, Love Letter. With the jury slimmed down form of Dennis Hopper’s Easy Rider, which 2009 to nine members, women are screens in competition and is named the Actress Dolores del Rio becomes 1957 the ¡rst woman to serve on the a majority for the ¡rst time, with actress festival’s best first work. Cannes jury. Isabelle Huppert serving as president and actresses Asia Argento, Shu Qi, Robin www.THEA.network A woman wins Cannes’ best Wright and Sharmila Tagore also serving. 1976 Martin Scorsese’s 1961 director award for the ¡rst time: brutal Taxi Driver debuts to Yuliya Solntseva, The Story of the Flaming Years. Two actresses, Léa Seydoux wildly mixed reactions but 2013 and Adèle Exarchopoulos, are wins the Palme d’Or. Olivia de Havilland is named the ¡rst 1965 pointedly awarded the Palme d’Or for Blue female president of the jury. Is the Warmest Color alongside their male director, Abdellatif Kechiche. They remain Mai Zetterling becomes the the only performers to be so honored. 1977 Hollywood productions accepted into 1968 ¡rst woman selected for the the festival include the hockey comedy Slap competition a second time. So¡a Coppola becomes the Shot, Michael Schultz’s comic and disco-spiked 2017 Car Wash and the colossally inept and oensive second woman to win the All This and World War II, which set war Women directors who’ve had multiple best director award. footage to bad covers of Beatles songs. films in the Cannes competition

5 Naomi Kawase 1982 Steven Spielberg gets an out-of-competition 3 Andrea Arnold, Jane Campion, Liliana Cavani, Nicole Garcia Wrap editor Sharon Waxman will be berth at the festival for his leading an industry conversation So¡a Coppola, Maïwenn Le Besco, Samira Makhmalbaf, blockbuster E.T. the Extra- 2 about women in Hollywood on Monday, Lucrecia Martel, Márta Mészáros, Lynne Ramsay, Alice Rohr- Terrestrial. May 14 at the Girls’ Lounge wacher, Margarethe von Trotta, Lina Wertmüller, Mai Zetterling Diamonde Williamson Founder, Blossom 6 THEWRAP MAY 2018 Created in Atlanta, made for the world. Meet THEA, your guide to tomorrow’s most creative talent exclusively from the A.

THEA is the first ever city-based video streaming platform, showcasing Atlanta’s creators and storytellers. Now viewers around the world can access exclusive content such as films, documentaries, pilots and original programming that highlights Atlanta’s established and emerging talent. See for yourself on iOS, Android, AppleTV and Roku.

WELCOME TO THE A.

www.THEA.network

Diamonde Williamson Founder, Blossom FRONT & CENTER / A Passel of Punditry

HOLLYWOOD ON THE CROISETTE

1986 Spielberg returns to Cannes, this time with The Color Purple, while Woody

Allen brings Hannah and Her Forbidden from leaving Iran, Jafar Panahi (inset) is saluted with an empty seat Sisters both films screen out at Berlin in 2011; right, Russian director Kirill Serebrennikov is under house arrest. of competition.

1988 on Howard lands his first Cannes berth for his fantasy adventure Willow, with Val ilmer and oanne Whalley. Our Critic’s Take BY BEN CROLL 1990 For the first time in a couple of decades, Disney animation is represented on the Croisette with John his year’s Cannes will be defined Peele and due out in August, will likely Musker and Ron Clements’ largely by absence. capitalize on our fraught current landscape, The Little Mermaid. There are, of course, some under- while David Robert Mitchell’s Andrew standable absences. Think of a cer- Garfield-led noir Under the Silver Lake will tain He Who Must Not Be Named, no doubt put another feather in distributor John Singleton’s Boyz n the Hood 1991 the disgraced producer, a one-time festival A24’s cool-kid cap when it rolls out this screens in the n Certain egard section and T idley Scott’s Thelma & Louise gets an out-of- fixture turned industry pariah, who seems as June. But that’s about it. competition slot. likely to turn up on the red carpet as the dark So then, what to make of a selection that lord Voldemort. You won’t see Netflix movies has sent the American contingent into a in the Palais, either, though less for nefarious nervous tizzy? For one, we must look at the 1992 on Howard is back with his Tom conduct than for a simple ideological impasse. festival from a different perspective. While CruiseNicole idman epic Far and Away, and And then there are the studios and brand- this edition may shed little light on the awards uentin Tarantino goes to Cannes for the first name directors who have shied away for mul- season to come—save, perhaps, the inclusion of time with Reservoir Dogs. tiple reasons. Some are wary of Paul Dano’s well-received Sundance the steep price tag of a Cannes entry Wildlife as Critics’ Week Celebrating 4 years We must launch, while others look at the opener—we must recognize Cannes 1994 Tarantino returns with recognize Pulp Fiction and is given the festival’s blood-hungry press as an international benchmark and Palme d’Or by a jury headed by pool and think it better to send Cannes as an take it on those terms. Clint Eastwood. either critic-proof blockbust- international Jafar Panahi’s Three Faces, for ers like Disney’s Solo: A Star benchmark instance, will never set the U.S. Wars Story or re-releases like box office ablaze. And yet, should 1998 Martin Scorsese serves as jury Warner’s 50th-anniversary and take it on Cate Blanchett’s jury award the president, but Todd Haynes is the only American 2001: A Space Odyssey. those terms. Iranian dissident the festival’s top to win a prize (for Velvet Goldmine) while the Finally, there are gaps honor, he will become only the sec- out-of-competition studio oerings include in the competition itself, which curiously ond director (after Michelangelo Antonioni) ohn Landis’ lackluster Blues Brothers 2000 and left out films from László Nemes and Paolo to win gold at all four major European fes- oland Emmerich’s overamped Godzilla. Sorrentino, auteurs who had previously tivals: Cannes, Berlin, Venice and Locarno. parlayed Cannes acclaim to Oscar glory—and Hell, should Panahi—who has suffered under 2001 DreamWorks Animation’s Shrek in turn, made inroads into a domestic market authoritarian rule since 2010—even make it actually lands a spot in the main competition, that remains frustratingly hostile to foreign to Cannes, it will represent a major diplomatic alongside Baz Luhrmann’s Moulin Rouge! cinema. And even though Lars von Trier accomplishment in an era when politics and Neither wins anything. will return following years as “persona non celebrity has merged to disturbing effect. grata,” he’ll do so absent the glaring light of For that matter, the presence (or lack competition, at a politically charged moment thereof) of Russian filmmaker Kirill where his brand of provocative misanthropy Serebrennikov might achieve a similar result. seems a touch out of step. At the same time, The director of competition title Summer has francophone favorites Xavier Dolan and been under house arrest since last fall; seeing Jacques Audiard made their English-language him on the French Riviera would be a moving debuts with high-wattage Hollywood casts, sign of solidarity in fractured times. but both opted out of Cannes in order to seek And if Serebrennikov and Panahi are awards-season gold via the fall festivals. no-shows? Perhaps that will be an ever more As far as the slim U.S. pickings go, Spike powerful statement, and another sign that

Lee’s BlacKkKlansman, produced by Jordan absence has an impact all its own this year. W IMAGES GETTY

8 THEWRAP MAY 2018 GETTY IMAGES Celebrating 4years FRONT & CENTER / Cannes Beat

HOLLYWOOD ON THE CROISETTE

2002 The firstStar Wars movie goes to Cannes as eorge Lucas premieres the second of his three widely panned prequels, Star Wars: Episode II – Attack of the Clones, in a non- competitive slot.

2003 Another maligned Episode II, the Wachowskis’ Matrix Reloaded, goes to Cannes. Meet the New Cannes Same as the Old Cannes? BY STEVE POND 2005 Star Wars returns in the form of Star Wars: Episode III – Revenge of the Sith, which o selfies on the red carpet. No Netflix films. No press screenings in advance of premieres. puts a bevy of stormtroopers on the red carpet. Is the 71st Cannes Film Festival a bold new reinvention of the venerable institution, or simply a tweaking of a format that’s been going strong for decades? We’re going with the latter. Those three rules were widely touted in the press as being on Howard gets 2006 new additions to this year’s festival, but that isn’t quite true. General Delegate Thierry another ticket to Cannes, but Frémaux, for instance, told guests not to take selfies three years ago. A de facto Netflix ban—i.e., no his festival-opening Dan Brown N thriller The Da Vinci Code is competition berths without a French theatrical release—was announced even before last year’s festi- openly mocked by journalists val began, along with the note that it wouldn’t go into effect until 2018. And the cutback on advance at its first press screening. press screenings has been hinted about, if not officially instituted, for more than six months. But let’s look at them one-by-one, and see what effect they may have on this year’s festival.

2008 Two very dierent Hollywood blockbusters screen out of competition: Steven SELFIES NETFLIX and Noah Baumbach, so on Spielberg’s Indiana Jones and the Temple of In 2015, Frémaux said that The streaming company is still the heels of its 2017 compe- the Crystal Skull and ohn Stevenson and Mark sel es are “ridiculous and welcome to submit its lms tition entries Okja and The Osborne’s Kung Fu Panda. grotesque” and slow down to Cannes, but it can’t have Meyerowitz Stories, its feelings the red carpet. His plea to them in the main competi- were hurt by the competition stop them didn’t really work, tion unless it commits to a ban, and it opted not to sub- 2011 The Artist becomes the first film in decades to go from a berth at Cannes to the as plenty of guests still found French theatrical release. But mit anything to the festival. Oscar for Best Picture, while Woody Allen’s it irresistible to snap a shot that release is governed by The absence of Net—ix Midnight in Paris and ob Marshall’s Pirates of at the top of the stairs into the Media Chronology Law won’t change the artistic com- the Caribbean: On Stranger Tides both screen the Grand Théâtre Lumière. (see page 11), which requires plexion of the competition

out of competition. Maybe it made those who a clearly untenable 36-month much, but this year it robbed POND STEVE NETFLIX; GETTY IMAGES shot them feel a little guilty— window between theatrical the festival of hey, when I shot mine (photo and screening. what could have 2015 Three major-studio critical hits storm at top) I did it fast so as not Lots of major Hollywood been a true high- the Croisette: Denis Villeneuve’s dark thriller to disrupt things—but it studios are perfectly happy light: the Cannes Sicario, Pete Docter’s animated Inside Out and didn’t stop the practice. with the out-of-competition Classics screening eorge Miller’s thrill ride Mad Max: Fury Road. Here’s betting that slots that are still open to of Orson Welles’ Frémaux’s more forceful Net—ix: That’s where Disney nal, un nished 2018 ban on sel es, a prac- is showing Solo: A Star Wars lm, The Other tice he said “ruins the quality Story this year and where Side of the Wind, of the red carpet,” won’t Warner Bros. showed Mad whose com- be much more e‹ective. At Max: Fury Road in 2015, among pletion Net—ix least not unless he takes a others. If Net—ix really wants to nanced. That’s lot of those security guards be one of the big boys, maybe not a Cannes who are checking women’s that’s where it belongs—but upheaval by any footwear and puts them on the company also backs means, but it is a sel e patrol. auteurs like Bong Joon-Ho shame.

10 THEWRAP MAY 2018 the invited guests an equal shot at spreading the word. Realistically, though, one of those groups is more eager to make their opinion known than the other, so there’s not much a few thousand invited guests can do to stem the tide of vitriol if a movie is hated. But it’ll be nicer for the ‹lmmakers, because they won’t know that the critics hate their ‹lm until a€er the premiere, rather than walking the red THE LAW THAT KEEPS carpet already feeling like a failure. For the late premieres, the press may have to wait until the morning a€er to get a look, NETFLIX AND CANNES APART which will delay the formation of a critical consensus until the ‹lmmakers have had f you’re looking for a villain in the ongoing a night of hearing nothing but nice things battle between Netflix and Cannes, you might from their invited guests. It may also cre- find one not in the streaming service or the ate incentive for the most well-connected film festival, but in a law passed in France in press members to snag premiere invites 2009. France’s Media Chronology Law elevates and scoop their colleagues. And watch out, INetflix’s quarrel with Cannes into an impasse, PRESS SCREENINGS Cannes ‹lmmakers: It could also make that because it prohibits films exhibited in a theater Of the recent changes, this has the biggest morning-a€er press audience even crankier from being distributed online through subscrip- chance to truly impact the festival, at least in than usual and less inclined to so€-pedal tion video on-demand services for three years. the way the 4,000 accredited press mem- their criticism since they’ve been denied That is the central issue in Netflix’s dispute bers experience it. In general—though there their position as the ‹rst voices. with Cannes—and until the rule changes and are lots of exceptions to this—Cannes holds The move will also upset the natural order the 36-month theatrical-to-streaming window is black-tie premieres in the Grand Théâtre of a premiere day at Cannes, which has eliminated or shortened dramatically, it seems Lumière for two of the main competition typically included the 8:30 press screening, unlikely Netflix will budge. In the company’s quar- titles each day, one in the a€ernoon or early followed by a photo call at which the ‹lm’s terly letter to its shareholders, Netflix manage- evening and the other later in the evening. director and other talent pose for photog- ment singled out the French law and the lengthy In the past, the earlier premiere was usually raphers, followed by a press conference in window, and added, “We would never want to do screened for the press the night before in the front of journalists who’ve just seen the ‹lm, that to our French members. We will continue Salle Debussy, while the later one got an 8:30 followed by a break and then the evening pre- to celebrate our films and filmmakers at other a.m. press screening in the Lumière on the miere. If the festival wants writers to see the festivals around the world but unfortunately we morning of its premiere. movies before asking questions, they’ll have will have to sit out Cannes for now.” That timing meant that tweets and reviews to delay the press conferences, too. The Media Chronology Law was drafted with had been circulating for hours before the Will the press grumble? Of course they will. the input of producers, distributors and exhibitors, o‡cial premiere took place. For a movie Will they adjust? Naturally. Let’s face it: The and made compulsory by a ministerial order. But that wins raves, like Toni Erdmann, BPM and indignities that come with covering this ‹lm the international film landscape has changed Son of Saul in recent years, that simply built festival in the south of France are more than dramatically in recent years, with the emergence up expectations; for widely panned eŠorts counterbalanced by the fact that you’re cov- of Netflix and other SVOD services, as well as the like The Sea of Trees, The Last Face and The ering a ‹lm festival in the south of France. W difficulty in financing films that aren’t pre-bought, Search, it meant that the savage reviews leading French film professionals to consider cast a pall over the premiere, making the modifying the regulation. French film sales veteran inevitable standing ovations seem more like Hengameh Panahi, founder of Celluloid Dreams, a forced reaction to those mean critics and told Screen Daily that though the law started out press-screening boobirds. as a plus for the French film industry, it “could turn This year, the early-premiere ‹lms will into hell if France doesn’t adjust.” hold their press screenings in the Debussy Her solution: “Films released theatrically for at simultaneously with the public screenings in least three weeks could stay in the system, but

STEVE POND STEVE NETFLIX; GETTY IMAGES the Lumière, which will give the critics and we should open the gate for all the other films not widely released theatrically to enable them to find an audience via on-demand and streaming.” Eric Lauvaux, a French attorney who rep- resents opposing parties in the debate, wrote for the Independent Film and TV Alliance that France’s film and media regulatory arm has draft- ed proposals to condense some of the windows, but that the parties, all fighting to benefit them- selves, haven’t been able to reach an agreement. But there’s a deadline looming: The law expires in July 2019. —TREY WILLIAMS

The Other Side of the Wind Viewers enter an 8:30 a.m. press screening in 2014.

71ST FESTIVAL DE CANNES 11 FRONT & CENTER / News and Notes The 5 Most Intriguing Movies at Cannes Yes, we all want to know what the new Godard and Star Wars movies are going to be like. (And since this is Cannes, that’s probably the right order.) But here are a handful of other lms that really pique our curiosity. —STEVE POND

Dead Souls The Man Who Killed Yomeddine, (Les Âmes Mortes), Don Quixote, A.B. Shawky Wang Bing Terry Gilliam (Main Competition) (Special Screenings) (Closing night) The last time a Chinese director A strife-ridden 19 director’s debut fea- Wang Bing is known years in the making, ture was chosen for for his epic-length The House That Jack Built, this may well be the Cannes’ main compe- documentaries, and Lars von Trier most troubled film tition was 2015, when Dead Souls is no (Out of competition) production in history. Laszlo Nemes’ Son of exception: An 8-hour- Matt Dillon as a seri- Between the chang- Saul made the cut and and-15-minute al killer over a span of ing cast (Jonathan 2001: A Space Odyssey, ended up winning exploration of China’s 12 years is intriguing Pryce is at least the Stanley Kubrick Cannes’ Grand Prize Daria Kobayashi Ritch Kobayashi Daria Cultural Revolution, enough. But Lars von fifth Quixote), the (Cannes Classics) and the Oscar for Best it is more than Trier returning to the natural disasters (a It may be a 50-year-old Foreign Language double the length of festival that declared flood destroying sets), movie we’ve all seen Film. Hoping to anything else in the him “persona non grata” the legal problems many times before, but follow that daunt- official selection. Will for his press-conference and the director’s Christopher Nolan’s pre- ing path: Shawky’s it tempt viewers to comments about Hitler checkered career and sentation of this “unre- crowd-funded spend that long in in 2011—that’s a riveting occasionally problem- stored” 70mm print will coming-of-age drama the dark, and will it story all its own, and one atic behavior, this is be looking to prove that a about a young man keep them interested? that’ll no doubt lead to the more of a must-see classic film can find a new leaving the leper colo- Wang has done so in biggest mob scene at any than any recent clos- way to resonate half a ny where he was left the past. press conference this year. ing-night film. century later. as a child. W

FIRST TIME’S A CHARM Main Competition These films and directors will be Yomeddine, competing for the Camera d’Or, A.B. Shawky the Cannes prize that goes to the Midnight best directorial debut to play in Directors’ Fortnight Screenings any section of the festival. Carmen y Lola, Arantxa Echevarria Arctic,

—STEVE POND Treat Me Like Fire, Marie Monge Joe Penna

Critics’ Week: Un Certain Regard Chris the Swiss, Anja Kofmel Angel Face, Vanessa Filho Diamantino, Gabriel Abrantes & Girl, Lukas Dhont Daniel Schmidt The Harvesters, Etienne Kallos One Day, Zsófia Szilágyi Little Tickles, Andréa Bescond Sauvage, Camille Vidal-Naquet & Eric Métayer Shéhérazade, Jean-Bernard Marlin My Favorite Fabric, Gaya Jiji Sir, Rohena Gera Sofia, Meryem Benm’Barek Wildlife, Paul Dano

12 THEWRAP MAY 2018 Laura Harrier stuff I love anyway. And I watched a lot of Soul Train—I went down a Soul Train YouTube hole.” She modeled the character after activists of the One to era like Angela Davis and Kathleen Cleaver, the latter of whom she met and talked to in preparation for the role. The resulting film, she said, is “grounded in a very serious, real topic. Watch But Spike is so good at taking these serious subjects and finding humorous moments. It’s a he was on vacation thriller, it’s a drama, it has lighter moments—it’s on a beach in a lot of things rolled into one.” S Greece when Laura Harrier was almost in a second movie at Harrier got a call from Cannes this year, but her role as Michael B. an unfamiliar number. “I Jordan’s wife in Ramin Bahrani’s Fahrenheit answered the phone and heard, ‘Laura, this is whose splashiest role to date has been as Peter 451 wound up on the cutting room floor. Spike Lee,’” she said with a laugh. “Whaaat??? Parker’s homecoming date (and bad guy Adrian “Because of the length of the film, Ramin I didn’t know Spike Lee, but he wanted me Toomes’ daughter) in Spider-Man: Homecoming, decided they needed to change the structure, to come back to New York and audition for this is brand new territory. “I think I passed and unfortunately my character didn’t fit BlacKkKlansman. I had to figure out how to get through Cannes on a school trip when I was with the storyline,” she said. “I’m not the first off that island and fly home the next day, and maybe 14,” she said with a laugh. “But I’ve it’s happened to, and I definitely won’t be the I was thinking, ‘I’d better get this part.’” definitely never been to the film festival.” last.” As for where she wants to go from here, She got the part after a marathon audition In BlacKkKlansman, Harrier plays a black- the goal is simple: “When I read scripts I look that found her doing improv with Lee himself, power activist in the early 1970s, an era that for strong, interesting, fully rounded women, and will return to the Mediterranean as one of predates her birth by about 20 years. Obviously, who are unfortunately difficult to find. I just the most buzzed-about actresses at the Cannes she had some studying to do: “I only listened want to keep telling meaningful stories about Film Festival. For a 28-year-old from Chicago to music from that era,” she said, “which is people who look like me.” Daria Kobayashi Ritch Kobayashi Daria —STEVE POND

in Cannes FRONT & CENTER / Market Report

AROUND THE MARKET

A few of the people, companies and films worth watching out for in the Cannes marketplace:

The Crypto-Keeper As the value of Bitcoin rises and falls dramatically, can cryptocurrencies become a viable tool for film financing? Producer Christopher Woodrow is betting that they can, and he’ll be at the Cannes market with his new company, MovieCoin. They plan to use money raised in the sale of an initial coin offering (ICO) to back a slate of films. He’s hoping Market Report an alliance with the Bankex platform will give MovieCoin stability that isn’t always present in the world of cryptocurrencies. Caution on The New Saudi Arabia Saudi Crown Prince Mohammad bin Salman has been working to boost his country’s fledgling film industry, making the rounds in Hollywood and opening the Croisette Saudi Arabia to American theater This year’s indie market remains slow and indecisive chains after a 35-year ban on public cinemas. In Cannes, the new Saudi Film BY MATT DONNELLY • ILLUSTRATION BY BRIAN TAYLOR Council will occupy a pavilion in the Marché du Film for the first time, while nine shorts by young Saudi filmmakers ot even a shot of Botox under the the appetite and the volume of business for will be shown in the Marché’s Short arm will curb a certain kind of smaller indies is just changing.” Film Corner on May 14 and 15. The goal, Nnervous sweat for buyers and sellers One studio executive, speaking on condition said Saudi Culture Minister Awwad headed to this year’s Marché du Film. A of anonymity, added, “A few years ago, people Alawwad, is “celebrating and supporting continued pattern of caution will reign were really overspending and then taking a the diversity of talent and opportunities when it comes to deals on the Croisette, bath when they released the films.” Another within the Saudi film industry.” numerous industry insiders told TheWrap. notable dealmaker who declined to be named Festival titles have been selling at a said that interest in finished films at Cannes, Festival Fever snail’s pace since last September’s Toronto even competition titles, is unusually low. This year’s edition of the Goes to International Film Festival, despite the “People are so apprehensive,” said Alex Cannes program, in which international widely held industry line that we live in Walton of Bloom, an international sales, film festivals bring works in progress an aggressive buyers market. And while production and financing company (The Nice to the market, is heavy on work set the Marché always brings a smattering Guys, Suburbicon). But Walton cautioned in dispossessed communities around of diverse international fare and typical- against sounding any death knells, thinking the world. That includes an animated ly produces an awards player or two, the back to his time at Paramount’s defunct indie version of Joseph Conrad’s Heart of impulse-buying phenomenon that one top label, Vantage. Darkness (which inspired Apocalypse studio executive called “festival fever” has “I think our top movie one year made $12 Now) transplanted to the favelas of Rio, cooled considerably. million at the box office,” he said. “Compared to along with the similarly titled Werewolf, “There are challenges in the independent now? This is a heyday. The market will liven which deals with Polish children marketplace that are well-documented in up with continued success stories, like Hostiles released from a WWII concentration terms of the economic model and the pipeline making $30 million or Chappaquiddick getting to camp, and Finding the Werewolf, about of films,” said Stuart Ford, former head of IM around $12 million. Or look at Lady Bird and The an undocumented immigrant in the U.S. Global, who returns to France with his new Shape of Water.” (Lady Bird grossed $49 million, who tries to avoid ever-more-prevalent content and sales engine, AGC Studios. “I don’t while Guillermo del Toro’s Oscar winner hit ICE raids. —SP expect Cannes to signal any great deviation nearly $64 million.) from the trajectory we’ve been on, but true Here’s what we’ll be watching for as the premium projects will be more in demand … market unfolds:

14 THEWRAP MAY 2018 INTERRUPTED STREAMS attached—deals where agencies It’s been two years since will bring scripts and big names streaming giants Netflix and to market and raise millions in Amazon stormed the indie domestic and international sales market at Sundance, acquir- to finance production. ing titles by the bucket and Long before distributor inflating price tags by millions. Neon and content sales compa- INCENTIVES WORK WHEN The companies both launched ny 30West bought I, Tonya for fireworks displays to announce $2 million out of Toronto, for PRODUCTIONS HIRE LOCAL their arrival and drove a money example, the Margot Robbie- train that almost immediately starring, Oscar-nominated film stalled. Both companies pivoted raised millions in France to get to original productions, which it onto the ice. And last year, the services could own outright the stop-motion film Bubbles, as library titles and use to keep about Michael Jackson’s Support local film commissions their global pipelines full of beloved chimp, kicked off a through training programs using content. At the Marché this heated bidding war eventually Hollywood best-practices year, expect both to pack light. won by Netflix for what was Netflix has already given reported to be a staggering $20 us the first beef of Cannes by million. Action fare like Chris Strengthen the pool of local refusing to submit its films to Evans’ Red Sea Diving Resort set-ready production crews any section of the festival. The also fetched big money. move was in direct response to “We’re taking two behemoth Train locals with hard skills to a rule change that all eligible projects with big names,” Ford competition films must have a said. Though he couldn’t disclose capture production jobs theatrical run in France, a move attachments, he targeted the that found festival boss Thierry budgets at around $100 mil- Frémaux placating France’s lion each. “There’s a certain domestic exhibition business, tier of films that even a couple which was in full revolt over of years ago would have seen Netflix’s day-and-date theatrical studio production,” he added. “It release strategy. reflects the reality that studios But if Netflix won’t send are making fewer movies.” films, it will send acquisitions reps to the festival for some MINI-MAJORS AND window shopping. “Netflix is MAJOR PRIZES more likely than anyone to One thing our insiders unan- be prolific,” said Bloom. “They imously agreed on was the need more foreign product than plum position of the mini-ma- WE HAVE CREATED TRAINING anyone else.” jor—specialty labels at the big Amazon is in a different sit- studios who get to flex creative PROGRAMS FOR ORGANIZATIONS IN uation. Jeff Bezos’ studio is still muscle without having to per- “in flux” after installing former form big for the C-suite exec- ALASKA, USA SAUDI ARABIA NBC chief Jen Salke to replace utives. Sony Pictures Classics, NEW MEXICO, USA NIGERIA the disgraced Roy Price, one Focus Features and Disney’s studio executive said. “They’re soon-to-be-acquired gem Fox CURAÇAO ZIMBABWE not looking to be major play- Searchlight are all coming with BAHAMAS ETHIOPIA ers—their strategy has moved money to spend, numerous to bigger films. They might be individuals familiar with their CHINA GHANA looking for awards but they’re plans told TheWrap. JAPAN after the next Big Sick, not a There are also decisive Todd Solondz movie.” and well-financed operations Both The Big Sick and like A24, The Orchard and Solondz’s last film, Weiner- Magnolia, which will be on the Dog, were released by Amazon prowl for awards season entries Studios. The Big Sick earned across features and documen- CONTACT US TODAY TO BUILD an Academy Award nomina- taries. Last year, The Orchard PRODUCTION CAPACITY IN tion and $43 million domestic. took Robin Campillo’s BPM, Wiener-Dog took in less than which won the César (France’s YOUR LOCATION $500,000 in limited release. Oscar) though it fell short of an Oscar Best Foreign Language LE PAQUET Film nomination. SPC took One pocket of the sales market Andrey Zvyagintsev’s Loveless, sure to see movement are con- which made the Oscar cut but [email protected] tent packages with movie stars didn’t win. W 1.800.985.9071 STUDIOINSTITUTEGLOBAL.ORG Javier Bardem and Penélope Cruz were photographed for TheWrap by Nico Bustos at Studio Q 17 in Madrid on April 20, 2018

Photo shoot was produced by Nathalie Moussier & Mathilde Wacogne

NO SEPARATION Penélope Cruz and Javier Bardem try not to work together very often, but neither of them could refuse Asghar Farhadi and Everybody Knows

BY STEVE POND ● PHOTOGRAPHED BY NICO BUSTOS COVER STORY Above, Cruz, Bardem and Eduard Fernández panic attack in the car, and I ended up in an ambulance search for the missing myself. It was just from hyperventilation and from my daughter of Cruz’s blood sugar going very high from the stress of the scene. character in Everybody Knows. Right, Bardem I remember getting out of the ambulance, and Asghar confers with director made sure I was OK.” Asghar Farhadi (most She paused. “And then he asked me for one more take.” likely in their common language, broken Cruz started laughing as she described a director so English) on the set. devoted to his film that he asked for another take from an actress who’d just required medical treatment. “I know he was worried about me, and that was the most important thing,” she insisted. “But after that, he wanted one more. And I never felt that he was crossing the line. He was always very respectful, but of course he went for the truth.” Bardem added that Farhadi had an uncanny ability On the day that Penélope Cruz ended up in an ambu- to ferret out that truth even though he shot his film lance on the set of Everybody Knows, she found out just in Spanish, a language he doesn’t speak. “He knows what kind of director Asghar Farhadi is. when you’re lying,” he said of the director, who used OIn the film, the opening-night attraction at this two translators on the set. “You can be in the middle of year’s Cannes Film Festival, Cruz plays a woman whose a very emotional scene, and he will show up and the teenage daughter abruptly disappears under mysterious translator will say, ‘Your eyes are lying. Please don’t act.’ circumstances during a wedding celebration. She spends “And fuck, he is right. He knows it, he feels it. Maybe most of the film in a state of panic and desperation, it was a pause, maybe it was a word. He doesn’t know enlisting the help of an old flame played by her real-life the language, but he knows that the words were not husband, Javier Bardem. “All of my scenes were very organically said.”

intense,” Cruz told TheWrap. “In one scene I have a In many ways, the notion of truth was what drew Films Memento of courtesy Photos

18 THEWRAP MAY 2018 COVER STORY

She is going through deep and terrifying pain, and I was there for months.” —Penélope Cruz

On the heels of A Separation, Farhadi met with Bardem and said he was interested in making a film in Spain and would like Bardem to be part of it. Later, he separately went to Cruz and had the same conver- sation. The couple, who had gotten married in 2010 and had the first of their two children in 2011, had made a few films together, including 1992’s Jamón Jamón—Bardem’s first starring role, in which a teenaged Cruz also appeared—and Woody Allen’s 2008 come- dy Vicky Cristina Barcelona, for which Cruz won the Best Supporting Actress Academy Award a year after Bardem had won his own Best Supporting Actor Oscar for No Country for Old Men. Despite those projects, though, they tended to work separately. It’s a coincidence, Cruz said, that this film appears only a year after they also acted together in Loving Pablo, in which he played drug lord Pablo Escobar and she was journalist Virginia Vallejo, Escobar’s lover. “It’s delicate, putting ourselves in front of a camera together,” said Bardem. “We don’t want to be doing something that is not worth the time that we are going to be spending together on it. We get along great on screen and we work together very well, but we don’t want to do it just because. It has to be special.” But they were both eager to work with Farhadi, so they jumped aboard the project that was subsequently postponed when the director decided that he didn’t want to follow his 2013 Paris-set movie The Past with another film made outside his native Iran. “We knew that he wanted to do something else in Iran, and The Salesman was a priority for him,” said Bardem. “But that gave him time for writing and changing and being more specific in Everybody Knows. “You have to be careful when you are dealing with delicate material about relationships, characters, and also a culture that is foreign to you. As he learned more and comprehended the habitat, the way we speak and both Cruz and Bardem to Farhadi, the Iranian direc- relate to each other, he started to add many details.” tor whose last three films include two Oscar winners The story that emerged featured Cruz as Laura, a in the Best Foreign Language Film category: 2011’s A mother who returns from her home in Argentina to Separation and 2015’s The Salesman, both studies of her hometown in Spain for the wedding of her sister. families stretched to the breaking point by secrets and Bardem plays Paco, a onetime farmhand with whom class and societal tensions. “I saw A Separation, and like she had a lengthy relationship in her teens. He’s now a millions of other people I was blown away by the quality landowner who helped her out by buying some of her of the film, and by how pure it is in every sense,” said family’s property, though some relatives think he got an Bardem. “When I saw it, and when I saw [2009’s] About unfair break on the price. Elly before that, I was thoroughly moved by the truth The tangled history of the two characters, which and the human quality he brings to his movies.” emerges as they race to find her daughter, is laden Cruz agreed. “A Separation is one of my favorite mov- with secrets. Some come to light over the course of the ies,” she said. “It’s like you’re watching life—you don’t see movie, and some are never really as secret as Laura anybody acting, any tricks, any lies. It’s like a piece of and Paco think. But in creating the shared history

Photos courtesy of Memento Films Memento of courtesy Photos life that he puts up there without judgment.” of the characters, Bardem said, his own decade-long

71ST FESTIVAL DE CANNES 19 COVER STORY

Asghar said, ‘Why do we need to take a break?’ We said, ‘In Spain we need a siesta and a good glass of wine!” —Javier Bardem

relationship with Cruz was in fact an For a three-week rehearsal period, to bring different kinds of energy, from panic impediment rather than an aid. Bardem said the director put his actors in to fear to the loss of hope to getting back some “You have to clear the slate,” he said. many different settings that were not in the hope,” she said. “I tried to find different colors “You go through your day as the father script as a way of fleshing out the world and in each situation. I was playing somebody who and the mother of these beautiful kids you making sure that they knew exactly how the had to take two very strong sleeping pills to have, and then you have to undo all of that characters would respond to everything. “By even sleep for four hours without losing her to get into the fiction. You have to embody the time we get to the set, we have put the mind. So what is her energy like the morning that fictional character—the way he sees the characters in every possible situation,” he after, or when she’s been up for two days?” world, the way he treats others. And the said. “But he won’t ever ask you go to a place For Farhadi’s actors, added Bardem, the moment you do that, you start to see the where you aren’t comfortable or you feel key to pleasing the demanding director was other person differently. excruciating pain.” figuring out how to transcend acting. “He “There are a couple of scenes that are Then again, excruciating pain might be doesn’t want you to play the scene,” he said very intense, one in particular where we talk an accurate description of the journey made “He wants you to go through the experi- about how we were in the past, and nothing by Cruz’s character. “The shooting was four ence of the scene. And once you do the

of us is in there. It’s imagining, working, months long, and we were lucky that Asghar scene, he helps you get back on track and creating something that doesn’t exist, even is such an easy person to be around,” she said. leave that experience in the scene. There’s though the emotions are real and the bodies “But it was a very demanding character—I silence, and time to recover.” are our bodies.” think the most difficult I’ve ever had to do. When Cruz thought back on the experi- The shoot had other challenges, not least “My character is happy at the beginning ence that put her in a state of hysteria for of which was explaining to the famously of the movie, but in everything else, she is months and in an ambulance at one point, workaholic Farhadi how they do things in desperate and going through a very deep and she also lavished praise on the director who Spain. “I think The Salesman was shot for 60 terrifying kind of pain. I was there every day steered her into those dark places and made days in a row without one day off,” Bardem for months. And my engine, my strength, sure she found the truths in that darkness. said. “And when he got the idea that in came from thinking about, feeling for all But then she added a succinct note: “By the Spain we have weekends off, and even if we the mothers that have feared losing their end,” she said, “I was ready to finish.” work on Saturdays we only have a half day, children from illness or war or situations like But she and Bardem are also ready for it took him a while to adjust. the one in the movie. This was a personal Cannes, which they’ve both been to numer- “He said, ‘Why do we have to take a homage to those women, and that gave me ous times before. For Bardem, the pleasures break? It’s better to go with the flow.’ We the strength every day to do it. I didn’t even of heading to the Croisette with Everybody were laughing, and we said, ‘We know you talk to Asghar about that, but it was my Knows are numerous. “What a great honor it are capable of doing this, but in Spain we secret nutrition for everyday survival.” is for any actor on Earth to open the greatest need to stop! We need a siesta, we need a She also had to figure out how to bring cinema festival in the world,” he said. “And good glass of wine!’ And by the end of the new shades to Laura’s desperation. “She’s to do it along with Asghar Farhadi and your

shoot he loved it.” always in a state of pain and panic, but I tried wife, it doesn’t get any better than this.” W Hurtado; Lucero by Manicure Iglesias; Pablo by and Makeup Hair Antolin; Belen by Styled Curiel and Montse Puig Patricia S.L. Oscuro, Cuarto by Production

20 THEWRAP MAY 2018 Styled by Belen Antolin; Hair and Makeup by Pablo Iglesias; Manicure by Lucero Hurtado; Production by Cuarto Oscuro, S.L. Patricia Puig and Montse Curiel Spike Lee BLACKKKLANSMAN Main Competition

Photographed by Tyler Mitchell in New York City

April 22, 2018 THE CANNES DIRECTORS PORTFOLIO

For the fifth consecutive year, we present the men and women who give Cannes its art and its heart

an you say that the lineup of directors at this year’s Cannes Film Festival is unexpected and fresh when it includes Jean-Luc Godard, a figure of French cinema so venerable that his 1965 film Pierrot le Fou inspired this year’s CCannes poster? Yes, you can, because Cannes runs the gamut this year, from 87-year-old Godard to 32-year old Egyptian-American director A.B. Shawky. The obstinately reclusive Godard, of course, did not pose for TheWrap’s fifth annual directors portfolio, just as he probably won’t appear on the Croisette during the festival. But our a cross section epitomizes the breadth of this year’s festival, from fresh faces like Shawky, Bel - gian first-timer Meryem Benm’Barek and Brazilian musi - cian-turned-filmmaker Joe Penna to veterans like Spike Lee and Chinese auteur Jia Zhang-ke. Given one of Cannes’ new rules this year, we toyed with the idea of asking them all to shoot the selfies they’ll be forbidden from shooting on the red carpet. But in the end, we stuck with what is always one of the highlights of our year: dispatching photographers to capture more than a dozen great international auteurs in cities around the world, from Brooklyn to Paris and Ghent to Giza. It’s these people and the work they produce that makes Cannes what it is. —STEVE POND

71ST FESTIVAL DE CANNES 23 24 THEWRAP MAY 2018 Benm’Barek Un Certain Regard Photographed by Meryem Meryem Julien Lienard April 19,2018 in Paris SOFIA

Produced by Sarah Lafrontiere Ramin Bahrani FAHRENHEIT 451 Midnight Screenings

Photographed by Jayne Wexler in New York City

April 20, 2018

71ST FESTIVAL DE CANNES 25 Jafar Panahi THREE FACES Main Competition

Photographed by Abbas Kowsari in Tehran

April 20, 2018

26 THEWRAP MAY 2018 Joe Penna ARCTIC Midnight Screenings

Photographed by Amber Waller in Los Angeles

April 28, 2018

Alice Rohrwacher LAZZARO FELICE Main Competition

Photographed by Lea Fabrikant in Berlin

April 20, 2018

71ST FESTIVAL DE CANNES 27 28 THEWRAP MAY 2018 ASH IS PUREST WHITE PUREST IS ASH Aude deCazenove Main Competition Zhang-Ke Photographed by April 19,2018 in Paris Jia

Produced by Sarah Lafrontiere Debra Granik LEAVE NO TRACE Directors’ Fortnight

Photographed by Marie Ketring in Minneapolis

April 20, 2018

71ST FESTIVAL DE CANNES 29 Paul Dano WILDLIFE Critics’ Week

Photographed by Rick Wenner in Brooklyn

April 19, 2018

David Robert Mitchell UNDER THE SILVER LAKE Main Competition

Photographed by Mike Gioulakis in Los Angeles

April 20, 2018

30 THEWRAP MAY 2018 A.B. Shawky YOMEDDINE Main Competition

Photographed by Timothy Kaldas in Cairo

April 16, 2018

71ST FESTIVAL DE CANNES 31 Christophe Honoré SORRY ANGEL Main Competition

Photographed by Julien Lienard in Paris

April 20, 2018 Produced by Sarah Lafrontiere Sarah by Produced

32 THEWRAP MAY 2018 Pamela Green BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ Cannes Classics

Photographed by Julian Le Ballister in Los Angeles

April 25, 2018

Lukas Dhont GIRL Un Certain Regard

Photographed by Kris Dewitte in Ghent

April 21, 2018

71ST FESTIVAL DE CANNES 33 GOES TO CANNES FRIDAY 11 TO MONDAY 14 MAY

4 DAYS TO DISCOVER WORKSINPROGRESS SELECTIONS CARTE BLANCHE TO RENOWNED FESTIVALS

Annecy Friday 11 - 10:00 to 12:00

Primera Mirada Friday 11 - 14:00 to 16:00

Doc Alliance Saturday 12 - 14:00 to 16:00

HAF Saturday 12 - 16:00 to 18:00

New Horizons’ Polish Days Sunday 13 - 10:00 to 12:00

Los Cabos Sunday 13 - 14:00 to 16:00

Guadalajara Monday 14 - 10:00 to 12:00

Vilnius Matteo Monday 14 - 12:00 to 14:00 Garrone Thessaloniki DOGMAN Monday 14 - 14:00 to 16:00 Main Competition

Photographed by – Riccardo Ghilradi in Rome Palais des Festivals – Level 4, Palais K

April 19, 2018

34 THEWRAP MAY 2018 MORE INFORMATION ON WWW.MARCHEDUFILM.COM

ACCESS WITH THE MARCHÉ DU FILM BADGE www.bronx.fr (Paris) H Bronx

AP_GOESTOCANNES_2018_245x340.indd 1 19/04/2018 11:52 AP_GOESTOCANNES_2018_245x340.indd 1 GOES TO CANNES FRIDAY 11TO MONDAY 14MAY Palais des Festivals –Level 4, Palais K – MORE INFORMATION ONWWW.MARCHEDUFILM.COM WORKSINPROGRESS SELECTIONS 4 DAYS TO DISCOVER CARTE BLANCHE TO RENOWNED FESTIVALS ACCESS WITH THEMARCHÉ DUFILMBADGE Monday 14 -14:00to 16:00 Thessaloniki Monday 14 -12:00to 14:00 Vilnius Monday 14-10:00to 12:00 Guadalajara Sunday 13-14:00to 16:00 Cabos Los Sunday 13-10:00to 12:00 Days New Horizons’ Polish Saturday 12-16:00to 18:00 HAF Saturday 12-14:00to 16:00 Doc Alliance Friday 11-14:00to 16:00 Primera Mirada Friday 11-10:00to 12:00 Annecy

19/04/2018 11:52

H Bronx (Paris) www.bronx.fr CANNES’ BACK PAGES / Mayhem in May

The Year That Cannes Collapsed Half a century ago, unrest in Paris spilled over and swept Godard, Truffaut and Polanski into a festival-ending melee

BY STEVE POND

he stormiest Cannes ever took place exactly 50 years ago, with a festival that began in celebra- tion and ended with esteemed French auteurs frantically Tclinging to curtains to prevent movies from being shown. Cannes was stormy because the world was stormy, with the Tet Offensive in Vietnam bringing pro- tests and riots on college campuses across America and around the world, while the brief but inspiring Prague Spring gave Czechoslovakia a short respite from Soviet domination and brought hope to protestors in Europe. In early May, as the festival was about to begin, students in Paris held protests that escalated into violent clashes with the police. When French workers and labor unions joined in, they essentially shut down Paris and much of France.

Cannes, meanwhile, tried to proceed Le to right, directors Claude Lelouch, Jean-Luc Godard, Francois Truaut, as if nothing was wrong. The festival’s Louis Malle and Roman Polanski at a Cannes press conference in 1968. opening-night ceremony was hosted by Grace Kelly, the Princess of Monaco, and worked to convince his fellow jurors to resign Peppermint Frappé by hanging onto the cur- followed by a screening of Gone With from the panel. tains in front of the screen, assisted by the the Wind. Competition films included On May 17, a week into the festival, a film’s director and by star Geraldine Chaplin. Milos Forman’s The Firemen’s Ball, Alain press conference turned into an open argu- In the ensuing melee, Godard lost his glasses Resnais’ Je t’aime, je t’aime, Richard ment about whether Cannes should contin- and Truffaut took a header. And on May 19 Lester’s Petulia and Jack Cardiff’s The ue. Directors François Truffaut and Jean-Luc the festival was canceled, with 17 of the 28 Girl on a Motorcycle, all angling for the Godard insisted that it must be canceled, competition films going unscreened. Palme d’Or that would be given out by a while Roman Polanski disagreed and told jury that included Roman Polanski, Louis Godard, “This reminds me a lot of days that Malle, Terence Young I have spent in Poland “I have spoken of and Monica Vitti. during the Stalinist period.” solidarity with the But many in the Godard and Truffaut filmmaking community were unmoved. Godard students and workers, in France, which had added that Cannes did not and you talk to me successfully lobbied have a single movie that about traveling the government for addressed contemporary shots and close-ups!” the reinstatement of problems faced by stu- fired La Cinematheque dents or workers, and then —JEAN-LUC GODARD Francaise head Henri blew up at someone who Langlois earlier in the wanted to talk cinema. “I A few months later, Truffaut looked back year, felt that Cannes have spoken of solidarity on the incident in the British movie mag- needed to stand in with the students and azine Sight & Sound. “It could maybe have solidarity with the workers, and you talk to been managed more elegantly, but in circum- protesters in Paris. As me about traveling shots stances like this you’re inclined to check your calls to cancel the festi- and close-ups!” he shouted. manners with your hat,” he said. “A few days val grew, Forman and “You’re a prick!” later, when there were no more planes and other directors with- Things came to a no more trains, when the telephones weren’t drew their films from head when Truffaut and working and we’d run out of petrol and ciga- the official competition, Godard tried to stop the rettes, the festival would have looked utterly while director Malle screening of Carlos Saura’s ridiculous if it had tried to carry on.” W

36 THEWRAP MAY 2018 We’ve Got You Covered

WEBSITE | MAGAZINE | EVENTS | SOCIAL | VIDEOS Join us in THEWRAP The Girls’ Lounge @ Festival de Cannes

Tuesday, May 8 – Plage Majestic 71 Saturday, May 19 10 boulevard de la Croisette 10AM – 6PM daily 06400 Cannes

Monday, May 14, Industry Panel Conversation moderated by Sharon Waxman, editor-in-chief of TheWrap

Panel Discussions & Fireside Chats TheWrap Portrait Studio Unplugged Advice Interviews Professional Styling Photo Activation Confidence Closet

The Girls’ Lounge, powered by The Female Quotient, creates experiential pop-ups at global conferences, companies and college campuses where women connect, collaborate and activate change together. If we could have done it alone, we would have by now. There’s power in the pack.

The Girls’ Lounge @ Festival de Cannes is given with from A.D.R and The Wrap

TheFemaleQuotient.com / @WeAreTFQ / #TheFemaleQuotient