Cannes has probably never welcomed so many American stars to its screens and red carpets as this year. Which restores the image of the big studios looking for breath in the face of competition from new platforms so well established. From the start of the gathering, it was all about the myriad stars descending from their Californian hills to parade on the palace steps in extravagant evening gowns. Enough to eclipse other films – often more deservingly – whose international aura shines less brightly. “Make America great again,” proclaims the orange man. The slogan makes sense here.
On Tuesday night, the black-coated photographers’ cameras didn’t know where to turn. Wes Anderson and his team walked the red carpet for Asteroid City shown in the competition. It looked like a parade in front of the Dolby Theater at the Oscars. The roster of celebrities featured their film’s poster, in part for humble appearances. Several of them, from Scarlett Johansson to Adrien Brody, to Tom Hanks, Matt Dillon, Jason Schwartzman and Bryan Cranston, surrounded the filmmaker in a cloud of light before the gala screening. TikTok influencers, who partnered with Cannes last year to attract young audiences, are promoting Anderson, their favorite. Nevertheless…
Amid the cheers or the Lazzi, the colourful, poppy and quirky American filmmaker went empty-handed into the Cannes charts with The French Dispatch and The Moonrise Kingdom. Nevertheless, he loves the festival, which could not do without his unusual signature and dazzling artists.
Despite its 36-star cast, Asteroid City is unlikely to enter the charts in 2023 either. His film, with its retro aesthetic, has everything of a moving graphic novel. His quirky and ironic process bears his hallowed signature, without the charm of his Grand Budapest Hotel. Here, in color or in black and white, on stage or in their trailers, the performers, captives of 1950s postcards, move more like puppets than flesh-and-blood figures. The proposal would require clear poetry to prevail. But American DNA in the mythical West, with silhouettes of cowboys and tacky pastel restaurants, waves its pennants to music without dazzling.
In this comedy filmed in Spain, an artificial mini-city in the desert welcomes young astronomers and space cadets in the shadow of mesas, a meteorite crater and mushrooms created by nuclear tests. These gifted individuals come to show the organizers and parents their futuristic projects, just as chilly as their offspring. Charming half-witch girls take part in the fool’s ball. Aliens are coming to the party. Scarlett Johansson doesn’t have much to offer as a jaded and lascivious movie star, Tom Hanks plays the spoiler grandpa without glamor. Tilda Swinton plays with her androgynous profile like a coin toss in the casino. Unfortunately, the magic doesn’t work! But what a style exercise! And what beautiful people in town!
On the same day, protesters against pension reforms in France stormed Cannes train station at the call of the workers’ union. An agricultural bomb exploded, injuring a passer-by. Gas and power outages reminded hoteliers and restaurateurs in the city that life isn’t just about the movies. Holy Cannes!
Shameful downside of papacy
Wes Anderson and octogenarian Marco Bellocchio have nothing in common except the hope of a Palme d’Or in constant flight. Eighth attempt by Bellocchio. hard ! This great academic Italian filmmaker explores his country’s past with the meticulousness of a monk, a rather heavy hand, but images of admirable perfectionism. With “The Kidnapping” he signs a historical drama with Rembrandt-like lighting, which is based on an exciting plot. Under the extremely reactionary papacy of Pius IX. In the mid-19th century, Jewish children were kidnapped by Vatican soldiers to be baptized and raised in the Catholic faith, while future priests wore the Aves cross around their necks.
The true story of six-year-old Edgardo Mortara, snatched from the loving arms of his Bolognese parents and soon to be brainwashed, speaks volumes about religious tyranny and the power of resistance. Because his Jewish family fought with all means. Newspapers and cartoonists denounced this political scandal with biting pen and pencil. Between the Vatican and the popular struggles, we see the rags burning, the revolution rumbling, and Pius IX. Heading for a part that no longer smells of sanctity…
The film is flawless and stunning. In the service of his fresco, Bellocchio hardly succeeds in penetrating the deep psyche of the protagonists. The emotion also leaves a lot to be desired due to the acting of the actors. The kidnapping is noble and beautiful, perfectly done. There is a lack of silence, innuendo, sideways glances, and generally an un-Catholic grace subtle enough to touch our hearts. Damage ! Will the palm tree breathe away tomorrow?
Odile Tremblay is a guest at the festival
from Cannes.