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The start of Cannes 2023: What to Expect Amid Star-Studded Attendance And The Most Anticipated MoviesThe start of Cannes 2023: What to Expect Amid Star-Studded Attendance And The Most Anticipated Movies

Beginning today is Cannes 2023: Here’s a quick rundown of what to expect from this year’s Cannes Film Festival as the world anticipates the celebration of films from all genres.

Cannes 2023 preview (Photo: Daniel Cole for Associated Press)Cannes 2023 preview (Photo: Daniel Cole for Associated Press)

Cannes 2023 preview (Photo: Daniel Cole for Associated Press)

A preview of Cannes 2023 Given the size and scope of the Cannes Film Festival, which begins on Tuesday, it is famously challenging to gauge its highs and lows. The best films in the world are on display there. It’s a red carpet extravaganza. It’s a dealmaking beehive on the French Riviera.
However, according to at least some metrics, Cannes is now back after having its 2020 festival cancelled, its 2021 edition drastically reduced, and its triumphant return in 2022.

Let’s just say that getting restaurant reservations has gotten quite challenging once more,” says Christine Vachon, a seasoned producer and Todd Haynes’ longstanding colleague.

The dazzling Cote d’Azur festival will feel assured that it has survived the storms of the epidemic and the supposed threat of streaming when it debuts “Jeanne du Barry,” a historical drama by Mawenn starring Johnny Depp, on Tuesday at the 76th Cannes Film Festival. (Netflix and Cannes are still at odds.)

With three Oscar best picture nominees from last year’s festival (Top Gun: Maverick, Elvis, and Palme d’Or winner “Triangle of Sadness”), which was considered to be a banner one by most standards, Cannes has once again established itself as the top worldwide launch pad for films large and small.

A BLOCKBUSTER CANNES

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The festival this year is highlighted by the world premieres of two major films: James Mangold’s “Indiana Jones and the Dial of Destiny,” starring Harrison Ford in his final performance as the character, and Martin Scorsese’s epic 1920s Osage Nation drama “Killers of the Flower Moon,” starring Leonardo DiCaprio and Robert De Niro.

However, even those films, as successful as Cannes might be, hint at the diversity of the filmmaking available. Years ago, Scorsese and Mangold were the first to debut their groundbreaking works in the Directors Fortnight sidebar at Cannes. In 1973, Scorsese released “Mean Streets,” while in 1995, Mangold released “Heavy.”

However, they will be releasing considerably larger pictures this season, which will undoubtedly sell out the Croisette. For Apple TV+, Scorsese has his $200 million epic. Additionally, Mangold will debut “a more splendiferous project” than his understated debut, as he puts it.

A memorial to Ford will be included in the “Indy” celebration. He will share an honorary Palme d’Or with Michael Douglas. Mangold sees it as an opportunity for Ford to embrace the franchise’s global fan base. The director claims that the “Indiana Jones” movie’ core values are derived from classic film.

These are things where, according to Mangold, “you’re taking your guidance from the classics.” The French are particularly fond of that aspect of American cinema. They revere older films in many ways more than even the viewers do.

AN ALL-TIME HIGH FOR FEMALE FILMMAKERS

This year’s Palme d’Or will be determined by a jury led by last year’s winner, Swedish writer-director Ruben stlund. Seven of the films are directed by women, a new high for the festival in its nearly eight decades of existence. “La Chimaera,” directed by Alice Rohrwacher and starring Josh O’Connor and Isabella Rossellini, is one of the most anticipated films.

The festival, which runs until May 27, will take place against a backdrop of labour unrest on both sides of the Atlantic. Protests have erupted in France in recent months over pension reforms, including raising the retirement age. Screenwriters in the United States are on strike to demand higher compensation in the streaming era.

The risk of a prolonged work stoppage has the potential to raise costs for completed pictures at Cannes, the world’s largest film market. Haynes’ “May December,” starring Natalie Portman as a journalist embedded with a couple (Julianne Moore, Charles Melton) formerly famous for their age disparity, is one of the titles seeking distribution.

Though arthouses have struggled to match multiplexes’ box-office comeback, Vachon, a producer on “May December,” says her business, Killer Films, and independent stalwart Haynes are used to “pivoting endlessly and finding opportunities no matter what the sea winds bring.”

A-LISTERS AND AUTEURS
As is customary in Cannes, this year’s competition programme includes Hirokazu Kore-eda (“Monster”), Wim Wenders (“Perfect Days”), Nuri Bilge Ceylan (“About Dry Grasses”), Ken Loach (“The Old Oak”), and Nanny Moretti (“A Brighter Tomorrow”).

“The Zone of Interest,” directed by Jonathan Glazer and shot at Auschwitz, is one of the festival’s most anticipated films. It’s his first solo release since 2013’s “Under the Skin.” The short “Strange Way of Life,” starring Pedro Pascal and Ethan Hawke, will be premiered by Pedro Almodóvar. “Asteroid City” will be premiered by Wes Anderson, who will be joined by a star-studded cast.

There’s also the impending HBO series “The Idol,” directed by Sam Levinson of “Euphoria,” featuring the Weeknd and Lily-Rose Depp, and starring Alicia Vikander as Catherine Parr and Judd Law as Tudor King Henry VIII.and the Pixar movie “Elemental,” which closes the festival.

Steve McQueen’s “12 Years a Slave” will be the longest picture appearing at Cannes, as well as one of the most thought-provoking. “Occupied City,” a four-hour-plus documentary produced by McQueen and his wife, Dutch novelist Bianca Stigter, blends narration documenting violent episodes in Amsterdam during the Nazi occupation with present-day footage from those sites.

McQueen began his feature filmmaking career at Cannes as well. His directorial debut, “Hunger,” earned the Camera d’Or, the prize for outstanding first film, in 2008. “It’s never as good as the first time,” adds McQueen.

“But it’s the most important film festival,” McQueen adds. “Our film raises questions. This is the place to screen films that provoke thought and raise questions. You’re on the front lines.”

POTENTIAL SUCCESSES
While many eyes will be on the next Scorsese or “Asteroid City,” Cannes will, as it does every year, introduce young directors to a wider audience. “Banel & Adama” by Senegalese filmmaker Ramata-Toulaye Sy is an unusual first feature in Palme competition.

Rodrigo Moreno, 50, of Argentina, will make his Cannes debut with “The Delinquents,” a heist tale laced with existentialism and cinematic flourishes. It’s one of the centrepieces of the part Un Certain Regard.

Because of the epidemic, Moreno took five years to complete the film. In another way, its Cannes nomination is a long time coming. Moreno’s first movie as a solo director was selected for both Un Certain Regard and the Berlin Film Festival’s main competition. The producers chose Berlin.

“At this stage in my career. I’m focusing on: If this permits me to keep working and make the next picture, that’s OK with me. “It’s the only thing I really want,” Moreno says.

“This film took almost five years to shoot, which is insane,” he continues. “But on the plus side, I had to shoot every year.” The only thing I knew was that a new year had begun and that I needed to shoot. And after that, I had to shoot.”

Article courtesy@India.com

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