9 Stars Who Have Been 9/11 Conspiracy Truthers (Photos)

The terrorist attacks of Sept. 11, 2001 were carried out by al-Qaeda terrorists who hijacked passenger jets. That’s the official version endorsed by the U.S. government, anyway. But a number of celebrities have refused to back the official story….

The terrorist attacks of Sept. 11, 2001 were carried out by al-Qaeda terrorists who hijacked passenger jets. That’s the official version endorsed by the U.S. government, anyway. But a number of celebrities have refused to back the official story.

Woody Harrelson

The former “Cheers” star is part of a group that calls itself Actors and Artists for 9/11 Truth. This group claims that the official 9/11 Commission failed to investigate fully the attacks and that the government has offered untrue or misleading information.

Charlie Sheen

Mr. Tiger Blood has called the government’s account of the hijacked planes “really suspicious” and has claimed that Washington was behind the attacks.

Mark Ruffalo

The versatile actor says he’s done his own research on 9/11. “Buildings don’t fall down like that,” he concluded.

Willie Nelson

The country crooner and noted weed lover is another member of the celebrity 9/11 group.

Marion Cotillard

“We’re lied to about a number of things,” the French star said of 9/11. (She later expressed regret for her remarks.)

Rosie O’Donnell

“I do believe it’s the first time in history that fire has ever melted steel,” “The View” cohost said of the World Trade Center collapse. That was later rebutted by Popular Mechanics, among others.

Ed Asner

The former “Lou Grant” star and voice of the old man in “Up” says the government needs to level with people about the terrorist attacks.

Related stories from TheWrap:

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Movies, TV Shows and Games That Were Altered After 9/11 (Photos)

Margot Robbie, Matthias Schoenaerts to Star in Black List Thriller ‘Ruin’

Margot Robbie and Matthias Schoenaerts are set to star in the Black List thriller “Ruin,” which will be directed by Justin Kurzel (“Assassin’s Creed”).

Ryan and Matthew Firpo wrote the script for the World War II thriller. Marc Butan of MadRiver Pictures is producing alongside Kurzel, while MadRiver’s Ara Keshishian is executive producing alongside Nik Bower and Deepak Nayar of Riverstone Pictures.

In post-WWII Germany, a Holocaust survivor (Robbie) has to make an alliance with a former SS captain (Schoenaerts) in her journey to seek revenge. Together, they hunt down the former members of the captain’s squad.

See Photo: Margot Robbie Is Sharon Tate in First Look at Quentin Tarantino’s ‘Once Upon a Time in Hollywood’

Principal photography is set to begin at the beginning of next year in Prague.

Kurzel made his directing debut with “The Snowtown Murders” and then followed with “Macbeth” starring Michael Fassbender and Marion Cotillard. He then directed the adaptation of the video game “Assassin’s Creed.”

Robbie was nominated for an Academy Award for her role in “I, Tonya.” She will next star as Queen Elizabeth I in “Mary Queen of Scots” alongside Saoirse Ronan and Quentin Tarantino’s “Once Upon a Time in Hollywood,” as well as the untitled Birds of Prey film for Warner Bros. Robbie is represented by Management 360, CAA, Narrative PR and Aran Michael Management.

Also Read: Margot Robbie Joins Charlize Theron, Nicole Kidman in Movie About Fox News Scandal

Schoenaerts can net be seen in David Oelhoffen’s “Close Enemies,” which premiered at the Venice Film Festival, as well as Thomas Vinterberg’s “Kursk,” which will premiere at the Toronto Film Festival. Schoenaerts is represented by CAA and UBBA.

CAA Media Finance packaged the film and is handling U.S. sales, while IMR International will handle the foreign sales.

Related stories from TheWrap:

Margot Robbie’s ‘Birds of Prey’ to Receive $12.6 Million in Tax Credits

‘Birds of Prey’ Revealed: Margot Robbie Film Will Feature Black Canary, Huntress, Cassandra Cain, Renee Montoya (Exclusive)

Focus Features Reins in Matthias Schoenaerts, Jason Mitchell Drama ‘Mustang’

Margot Robbie and Matthias Schoenaerts are set to star in the Black List thriller “Ruin,” which will be directed by Justin Kurzel (“Assassin’s Creed”).

Ryan and Matthew Firpo wrote the script for the World War II thriller. Marc Butan of MadRiver Pictures is producing alongside Kurzel, while MadRiver’s Ara Keshishian is executive producing alongside Nik Bower and Deepak Nayar of Riverstone Pictures.

In post-WWII Germany, a Holocaust survivor (Robbie) has to make an alliance with a former SS captain (Schoenaerts) in her journey to seek revenge. Together, they hunt down the former members of the captain’s squad.

Principal photography is set to begin at the beginning of next year in Prague.

Kurzel made his directing debut with “The Snowtown Murders” and then followed with “Macbeth” starring Michael Fassbender and Marion Cotillard. He then directed the adaptation of the video game “Assassin’s Creed.”

Robbie was nominated for an Academy Award for her role in “I, Tonya.” She will next star as Queen Elizabeth I in “Mary Queen of Scots” alongside Saoirse Ronan and Quentin Tarantino’s “Once Upon a Time in Hollywood,” as well as the untitled Birds of Prey film for Warner Bros. Robbie is represented by Management 360, CAA, Narrative PR and Aran Michael Management.

Schoenaerts can net be seen in David Oelhoffen’s “Close Enemies,” which premiered at the Venice Film Festival, as well as Thomas Vinterberg’s “Kursk,” which will premiere at the Toronto Film Festival. Schoenaerts is represented by CAA and UBBA.

CAA Media Finance packaged the film and is handling U.S. sales, while IMR International will handle the foreign sales.

Related stories from TheWrap:

Margot Robbie's 'Birds of Prey' to Receive $12.6 Million in Tax Credits

'Birds of Prey' Revealed: Margot Robbie Film Will Feature Black Canary, Huntress, Cassandra Cain, Renee Montoya (Exclusive)

Focus Features Reins in Matthias Schoenaerts, Jason Mitchell Drama 'Mustang'

Marion Cotillard’s ‘Angel Face’ Picked Up For Distribution In North America By Cinema Libre

Following its premiere at the Cannes Film Festival in the Un Certain Regard competition, the Marion Cotillard-starring Angel Face, which marked the feature directorial debut for French director Vaness Filho (Love Punch) was just picked up for North Ame…

Following its premiere at the Cannes Film Festival in the Un Certain Regard competition, the Marion Cotillard-starring Angel Face, which marked the feature directorial debut for French director Vaness Filho (Love Punch) was just picked up for North American distribution by Cinema Libre Studio. Angel Face, based on an original screenplay developed by Filho with Alain Dias (aka Diastéme, writer of French Blood), will open later this year in the states via Cinema Libre after…

Marion Cotillard’s Drama ‘Angel Face’ Bought by Cinema Libre (EXCLUSIVE)

Cinema Libre Studio has acquired North American rights to “Angel Face” (Gueule d’Ange), starring Marion Cotillard, Variety has learned exclusively. The drama marks the first feature-length film for French director Vanessa Filho (“Love Punch”), based on…

Cinema Libre Studio has acquired North American rights to “Angel Face” (Gueule d’Ange), starring Marion Cotillard, Variety has learned exclusively. The drama marks the first feature-length film for French director Vanessa Filho (“Love Punch”), based on an original screenplay developed by Filho with Alain Dias. The movie was produced by Moana Films’ Marc Missonnier (“Marguerite”) […]

Cannes Film Market ‘Healthy’ as New Players Fill Streaming Giant Void

Predictions of the Marche du Film’s death were greatly exaggerated. While indie film prices have come back to earth after big-spending streaming giants rattled the ecosystem a few years back, industry players told TheWrap, the market at Cannes was buzzing this year from start to finish.

“A lot of times, people associate activity with the big players spending a lot of money and buying movies for big price tags,” Saban Films President Bill Bromiley told TheWrap from France on Friday.

“That can be a little misleading,” said the executive, whose company brought home five films — more than any other distributor to visit the festival this year.

Also Read: The Cannes – Oscar Connection: How Strong Will It Be This Year?

It was a polarizing year at Cannes, with no shortage of hemming and hawing about the state of affairs in the coastal haven. The headlines and soundbites came in waves saying anything from “Cannes is dead” to “Cannes needs to change” to “Cannes change is here.”  And depending on whom you asked, the market was abysmal or doing just fine.

Still, acquisition news seemed to come fast and furious out of the gate — and included at least two bidding wars that climbed into the eight figures.

And while recent big spenders like Netflix and Amazon were quieter, and The Weinstein Company MIA altogether, several major new players stepped up to make a big splash in acquisitions.

Saban started scoring on day two, taking the Gerard Butler psychological thriller “Keepers” and the Keanu Reeves romantic thriller “Siberia.” The spending spree continued with the ensemble romance “Berlin, I Love You” with Kiera Knightley and Helen Mirren, Nicolas Cage’s “Between Worlds” and the historical action film “Viking Destiny.” 

Also Read: Is the Cannes Film Festival in Decline? Not to the French

Two rich deals came after all-night bidding (a welcome sight after the frigid pace of the market at Sundance): for Karyn Kusama’s follow-up to “The Invitation,” a cult-and-cop thriller starring Nicole Kidman called “Destroyer” that went for a reported eight figures to Megan Ellison’s Annapruna Pictures.

And Universal paid a reported $20 million-plus for North American rights to the star-studded spy caper “355” with Jessica Chastain, Lupita Nyong’o, Fan Bingbing, Marion Cotillard and Penelope Cruz. The studio beat out several studios for the yet-to-shoot production, including suitor Amazon Studios. Sales rep FilmNation also sold many international territories in million-dollar deals, an individual familiar with the negotiations told TheWrap.

“Climax” sold to A24

After a splashy showing at February’s Berlin Film Festival, Global Road made good on its promise to be an active player under new boss Rob Friedman. The studio, rebranded and expanded from Open Road, paid an undisclosed amount for rights to a new take on “The Secret Garden” starring Colin Firth and Julie Walters. The film came fully financed from Studiocanal.

There were also a few sacred cows to be had. Magnolia Pictures took Hirokazu Kore-eda’s
“Shoplifters” only 24 hours before it won the festival’s highest honor, the Palme d’Or.  A24 nabbed Gaspar Noe’s dancing horror fever dream “Climax,” well before it would land him the top honor in the Directors’ Fortnight section. “BlacKkKlansman,” which won Spike Lee the Grand Prix, was presold to Focus.

Focus also scooped up Asghar Farhadi’s opening night film “Everybody Knows,” starring real-life couple Penelope Cruz and Javier Bardem. Sony Pictures Classics took the devastating awards hopeful “Capernaum” from director Nadine Labaki. Both deals were a reported low-seven figures.

Bleecker Street won the brutal survival story “Arctic” with Mads Mikkelsen. Tom Quinn’s Neon made its first ever Cannes purchase with the horror tale “Border,” from the author of  “Let the Right One In.”

Also Read: ‘Shoplifters’ Wins Palme d’Or at 2018 Cannes Film Festival

The streaming companies weren’t entirely absent. While Netflix publicly ghosted the festival in April after bylaws were changed to require a French theatrical release for all competition films, Ted Sarandos’ team couldn’t resist buying a bit of prestige.

The streaming giant bought “Happy as Lazzaro,” which premiered in competition and was awarded Best Screenplay for Alice Rohrwacher, as well as Lukas Dhont’s “Girl,” which won the Camera d’Or for best first film and best actor for star Victor Polsterin the Un Certain Regard section.

Amazon Studios brought the rousing period drama “Cold War,” directed by Oscar winner Pawel Pawlikowski, to the competition after acquiring it last summer.

Before the Marche du Film opened, experts warned us the buyers would be cautious. But that doesn’t mean stagnant, Bromiley concluded.

“There are a lot of projects out there, and we had to dig a little deeper this year. That’s been for the past few years, it used to come a lot easier. But the market is very healthy on the domestic side, and obviously our sales reflect that,” he said.

Related stories from TheWrap:

The Cannes – Oscar Connection: How Strong Will It Be This Year?

Asia Argento Condemns Harvey Weinstein During Cannes Awards: ‘This Festival Was His Hunting Ground’ (Video)

Is the Cannes Film Festival in Decline? Not to the French

Netflix Lands Cannes Award Winners ‘Happy as Lazzaro’ and ‘Girl’

Predictions of the Marche du Film’s death were greatly exaggerated. While indie film prices have come back to earth after big-spending streaming giants rattled the ecosystem a few years back, industry players told TheWrap, the market at Cannes was buzzing this year from start to finish.

“A lot of times, people associate activity with the big players spending a lot of money and buying movies for big price tags,” Saban Films President Bill Bromiley told TheWrap from France on Friday.

“That can be a little misleading,” said the executive, whose company brought home five films — more than any other distributor to visit the festival this year.

It was a polarizing year at Cannes, with no shortage of hemming and hawing about the state of affairs in the coastal haven. The headlines and soundbites came in waves saying anything from “Cannes is dead” to “Cannes needs to change” to “Cannes change is here.”  And depending on whom you asked, the market was abysmal or doing just fine.

Still, acquisition news seemed to come fast and furious out of the gate — and included at least two bidding wars that climbed into the eight figures.

And while recent big spenders like Netflix and Amazon were quieter, and The Weinstein Company MIA altogether, several major new players stepped up to make a big splash in acquisitions.

Saban started scoring on day two, taking the Gerard Butler psychological thriller “Keepers” and the Keanu Reeves romantic thriller “Siberia.” The spending spree continued with the ensemble romance “Berlin, I Love You” with Kiera Knightley and Helen Mirren, Nicolas Cage’s “Between Worlds” and the historical action film “Viking Destiny.” 

Two rich deals came after all-night bidding (a welcome sight after the frigid pace of the market at Sundance): for Karyn Kusama’s follow-up to “The Invitation,” a cult-and-cop thriller starring Nicole Kidman called “Destroyer” that went for a reported eight figures to Megan Ellison’s Annapruna Pictures.

And Universal paid a reported $20 million-plus for North American rights to the star-studded spy caper “355” with Jessica Chastain, Lupita Nyong’o, Fan Bingbing, Marion Cotillard and Penelope Cruz. The studio beat out several studios for the yet-to-shoot production, including suitor Amazon Studios. Sales rep FilmNation also sold many international territories in million-dollar deals, an individual familiar with the negotiations told TheWrap.

“Climax” sold to A24

After a splashy showing at February’s Berlin Film Festival, Global Road made good on its promise to be an active player under new boss Rob Friedman. The studio, rebranded and expanded from Open Road, paid an undisclosed amount for rights to a new take on “The Secret Garden” starring Colin Firth and Julie Walters. The film came fully financed from Studiocanal.

There were also a few sacred cows to be had. Magnolia Pictures took Hirokazu Kore-eda’s
“Shoplifters” only 24 hours before it won the festival’s highest honor, the Palme d’Or.  A24 nabbed Gaspar Noe’s dancing horror fever dream “Climax,” well before it would land him the top honor in the Directors’ Fortnight section. “BlacKkKlansman,” which won Spike Lee the Grand Prix, was presold to Focus.

Focus also scooped up Asghar Farhadi’s opening night film “Everybody Knows,” starring real-life couple Penelope Cruz and Javier Bardem. Sony Pictures Classics took the devastating awards hopeful “Capernaum” from director Nadine Labaki. Both deals were a reported low-seven figures.

Bleecker Street won the brutal survival story “Arctic” with Mads Mikkelsen. Tom Quinn’s Neon made its first ever Cannes purchase with the horror tale “Border,” from the author of  “Let the Right One In.”

The streaming companies weren’t entirely absent. While Netflix publicly ghosted the festival in April after bylaws were changed to require a French theatrical release for all competition films, Ted Sarandos’ team couldn’t resist buying a bit of prestige.

The streaming giant bought “Happy as Lazzaro,” which premiered in competition and was awarded Best Screenplay for Alice Rohrwacher, as well as Lukas Dhont’s “Girl,” which won the Camera d’Or for best first film and best actor for star Victor Polsterin the Un Certain Regard section.

Amazon Studios brought the rousing period drama “Cold War,” directed by Oscar winner Pawel Pawlikowski, to the competition after acquiring it last summer.

Before the Marche du Film opened, experts warned us the buyers would be cautious. But that doesn’t mean stagnant, Bromiley concluded.

“There are a lot of projects out there, and we had to dig a little deeper this year. That’s been for the past few years, it used to come a lot easier. But the market is very healthy on the domestic side, and obviously our sales reflect that,” he said.

Related stories from TheWrap:

The Cannes – Oscar Connection: How Strong Will It Be This Year?

Asia Argento Condemns Harvey Weinstein During Cannes Awards: 'This Festival Was His Hunting Ground' (Video)

Is the Cannes Film Festival in Decline? Not to the French

Netflix Lands Cannes Award Winners 'Happy as Lazzaro' and 'Girl'

FilmNation Sells Out On Starry Spy-Thriller ‘355’ With String Of Multi-Million Dollar Deals — Cannes

EXCLUSIVE: Buyers have been ravenous for FilmNation’s starry spy-sisterhood thriller 355, which has sold out internationally, including a string of multi-million dollar deals.
Following the big deal for France with SND last week, major internatio…

EXCLUSIVE: Buyers have been ravenous for FilmNation’s starry spy-sisterhood thriller 355, which has sold out internationally, including a string of multi-million dollar deals. Following the big deal for France with SND last week, major international pacts have now closed with Tele Munchen Group for Germany, Universal Pictures for the UK, Leone for Italy, Sun Distribution for Spain, Entertainment One for Canada, Sun Distribution in Latin America and Roadshow Films for…

‘Angel Face’ Review: Marion Cotillard Is a Self-Destructive Mom In this Dull French Melodrama — Cannes 2018

Vanessa Filho’s debut is a tedious melodrama that only finds a pulse once it leaves its star behind.

If you’re going to shoot 80 percent of a film in extreme close-up, strictly training the camera on an actor’s face at the expense of everything around her, you better make damn well sure you give us an interesting character to consider. Marlene, a flailing single mother played by a wobbly, one-note Marion Cotillard, is not an interesting character. She’s Halley from “The Florida Project” minus any sort of humor or humanity, a self-destructive bore who never does anything to deserve our attention. “Angel Face,” by extension, is not an interesting movie. The debut feature from writer-director Vanessa Filho is a trite story about a walking disaster and the daughter caught her in path, the tedious melodrama only finding a heartbeat when it abandons the lead character and searches for change.

Marlene is drunk the first time we meet her — so drunk we can almost smell it on her breath. She slides into bed with her young daughter, Elli (Ayline Aksoy-Etaix), and asks the little girl if she loves her. It isn’t a rhetorical question. Marlene has about as little self-awareness as any sentient being possibly could, but even she has the sense to recognize that she hasn’t been a great mother. It’s the night before her latest wedding day, and she seems determined to make this one last. She even makes a spectacularly unconvincing toast about how grateful she is for her second chance.

But sure enough, barely an hour passes before Marlene is back on her bullshit, and her new ex-husband finds her having sex with some guy in the kitchen. And so she and Elli are back on their own — back to the (pretty decent) seaside apartment they share along the coast of France. The ominous piano and string score by Olivier Coursier and Audrey Ismael  promises us that things are not going to go well from there (though, like many of the best elements here, the music could be a lovely touch in another film).

They don’t. Cycles are vicious. Marlene pities herself and drinks herself into oblivion. Elli, affectionately referred to as “Angel Face,” follows suit. She isn’t a particularly expressive kid, but we’re far more concerned about that than her mother ever appears to be. It’s hard not to wince as the little girl begins chasing her apple juice with hard liquor and feeding bourbon to her stuffed animals. Such specific details are unfortunately few and far between during the first hour of the film, as the situation degrades from bad to worse.

Off the rails from the start, Marlene careens into a full-blown train wreck. She’s humiliated at the supermarket when she can’t afford groceries. She’s humiliated at Elli’s school when the other moms gawk at her skin-tight party dress. She can’t go outside without the whole world sneering at her. We’re sad for her, of course, but Filho does her best to blunt our sympathies by making Marlene absolutely hopeless. “Humanity’s fucked up, that’s all,” she declares to her daughter, shirking off her last shred of personal responsibility before disappearing from the story altogether. “Angel Face” doesn’t exactly explain where Marlene goes (all we know is that she meets some guy), but it’s not like you’ll be asking after her.

That’s especially true once Elli gloms on to a new parental figure in her life, a cliff diver with abandonment issues of his own. Played by Alban Lenoir (the Jeremy Davies of France), this scruffy and sweet-natured stranger lives in a trailer by the ocean because his dad won’t speak to him anymore. Elli has the emotional intelligence to sense a kindred spirit, and she weasels her way into his life, forcing the diver to simultaneously negotiate dual roles as an estranged son and a distant father.

It’s an interesting dilemma, particularly so far as it reframes the question that Marlene always gets wrong: Can people actually change, or are we all stuck in some kind of continuum? The tectonic shifts in Lenoir’s character are subtle, but the actor makes them stick, his steely indifference softening over time. His performance is all the more impressive given that Filho churns it through some painfully forced developments, including a school play gone wrong and a splashy finale that rings false despite (or because of) how clearly it’s planted towards the beginning of the film. An unsubtle line in the first act will always pay off in the third, no matter how absurd it may seem. Perhaps some things can’t ever change, after all.

Grade: C-

“Angel Face” premiered in Un Certain Regard at the 2018 Cannes Film Festival. It is currently seeking U.S. distribution.

Marion Cotillard’s Careless Motherhood Hurts in ‘Angel Face’

Motherhood is getting beat up pretty bad in movies lately. After last year’s sunny (by comparison) “The Florida Project,” with its tattooed, party mom-in-an-SRO, comes Marion Cotillard in “Angel Face,” screening at the Cannes Film Festival.

Cotillard plays bleached-blonde Marlene, the hard-drinking party girl who seems barely aware that she is mother to Elli, a young girl who gets to tag along to witness her mother’s careless debauchery. It’s not often that mothers take their daughters to the club with them, then send them home in a cab while taking off with a guy.

This is the kind of person Marlene is: the movie opens with her primping for her wedding, where she promptly gets trashed, sings a song about betrayal to her new husband and then is discovered humping a wedding guest in the kitchen. It isn’t long before tiny Elli starts taking sips, and then swigs, of alcohol, not that Marlene would ever get up off the couch to notice.

Also Read: Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back

A hauntingly intense Avline Aksoy-Etaix plays Elli, who does more caretaking of her mother than the other way around. Marlene finally just abandons Elli, after yet another night of self-indulgent partying.

So desperate is Elli for some adult attention that she latches on to a random man in the neighborhood, literally demanding that he take her in. Much as Julio tries to rid himself of Elli, she keeps turning up in his mobile home, high on the cliffs of the coast. Despite himself, he creates a bond, and becomes a short-lived surrogate father.

Director Vanessa Filho has some deeply harsh things to say about motherhood in this film, and who ought to have the right to parent.

One does wonder why state services never show up, despite Elli missing many days of school.

Also Read: Jessica Chastain Spy Thriller ‘355’ Lands at Universal After Bidding War

Cotillard is highly convincing as a self-destructive mother, oblivious to her responsibilities and the emotional carnage she inflicts on her little girl. But Aksoy-Etaix meets her note for note, with a phlegmatic flatness that reads as normalized apathy.

Not until the final frames of the film do we really see how deep the pain, and how raw the anger is that has been dug into her young heart.

Related stories from TheWrap:

Cate Blanchett Calls for ‘Parity and Transparency’ in Red Carpet Protest of Gender Inequity in Cannes

Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back

Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Motherhood is getting beat up pretty bad in movies lately. After last year’s sunny (by comparison) “The Florida Project,” with its tattooed, party mom-in-an-SRO, comes Marion Cotillard in “Angel Face,” screening at the Cannes Film Festival.

Cotillard plays bleached-blonde Marlene, the hard-drinking party girl who seems barely aware that she is mother to Elli, a young girl who gets to tag along to witness her mother’s careless debauchery. It’s not often that mothers take their daughters to the club with them, then send them home in a cab while taking off with a guy.

This is the kind of person Marlene is: the movie opens with her primping for her wedding, where she promptly gets trashed, sings a song about betrayal to her new husband and then is discovered humping a wedding guest in the kitchen. It isn’t long before tiny Elli starts taking sips, and then swigs, of alcohol, not that Marlene would ever get up off the couch to notice.

A hauntingly intense Avline Aksoy-Etaix plays Elli, who does more caretaking of her mother than the other way around. Marlene finally just abandons Elli, after yet another night of self-indulgent partying.

So desperate is Elli for some adult attention that she latches on to a random man in the neighborhood, literally demanding that he take her in. Much as Julio tries to rid himself of Elli, she keeps turning up in his mobile home, high on the cliffs of the coast. Despite himself, he creates a bond, and becomes a short-lived surrogate father.

Director Vanessa Filho has some deeply harsh things to say about motherhood in this film, and who ought to have the right to parent.

One does wonder why state services never show up, despite Elli missing many days of school.

Cotillard is highly convincing as a self-destructive mother, oblivious to her responsibilities and the emotional carnage she inflicts on her little girl. But Aksoy-Etaix meets her note for note, with a phlegmatic flatness that reads as normalized apathy.

Not until the final frames of the film do we really see how deep the pain, and how raw the anger is that has been dug into her young heart.

Related stories from TheWrap:

Cate Blanchett Calls for 'Parity and Transparency' in Red Carpet Protest of Gender Inequity in Cannes

Cannes Report, Day 4: Sales Market Heats Up, '355' Sparks Bidding War, Jean-Luc Godard Is Back

Cannes Report, Day 3: Women Rule, 'Cold War' Hailed as 'Best Film' Yet

Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory

Jane Fonda, Kristen Stewart, Ava Duvernay to Protest Gender Inequity on Red Carpet in Cannes

The women at the Cannes Film Festival are making their voices heard at an extraordinary protest on the red carpet on Saturday evening, with Jane Fonda, Kristen Stewart and Ava Duvernay among a group of 82 women who will stand in silent vigil ahead of a premiere.

The group will climb the steps of the Palais de Festival and stand silently to protest how hard it still is to climb the ladder as a woman in Hollywood. The protests, part of the rising “50/50 by 2020” movement was planned ahead of the premiere of “Girls of the Sun,” a film in competition by director Eva Husson, one of only three female filmmakers in competition.

Also Read: Women in Cannes: A Short History of Small Victories and Decades of Male Dominance (Photos)

That is an improvement over Cannes’ historical record.  Only 82 films in official selection in the history of the Cannes Film Festival have been directed by women.

Others expected to take part in the vigil are Salma Hayek, Marion Cotillard, director Patty Jenkins and Haifaa Al Mansour and agents including CAA’s Hylda Queally and activist-journalist Melissa Silverstein .

Duvernay and Stewart are on the jury. Fonda is here for the screening of a documentary about her life.

Silverstein told TheWrap that the protest originated with the French group Le Deuxieme Regard and the 5050by2020 collective, working directly with the festival.

“They get all the credit,” said Silverstein. “I am honored to work with them to amplify the message about the need for more women in the competition at the festival. This feels like a very big moment.”

As TheWrap reported recently, the statistics for women in Cannes are pretty dismal: Over the first 71 years, a paltry 4.3 percent of the competition films have been directed by women. (See chart below.) Only one, Jane Campion’s “The Piano,” has won Cannes’ top prize, the Palme d’Or, though actresses Adele Exarchopoulos and Lea Seydoux were given honorary Palmes alongside “Blue Is the Warmest Color” director Abdellatif Kechiche’s real one in 2013.

Admittedly, things are getting better. Of the 11 times that three or more women have placed films in competition, eight have come in the last 13 years. Three women made the cut in 2006, 2007, 2009, 2015, 2016, 2017 and 2018 — and four did so in 2011.

Also Read: Cannes’ Female Troubles: Women Directors Have Always Been Scarce

This year along with Husson, the women in competition include Nadine Labaki with “Capharnaum,” and Alice Rohrwacher with “Happy as Lazzaro.”

 

The women at the Cannes Film Festival are making their voices heard at an extraordinary protest on the red carpet on Saturday evening, with Jane Fonda, Kristen Stewart and Ava Duvernay among a group of 82 women who will stand in silent vigil ahead of a premiere.

The group will climb the steps of the Palais de Festival and stand silently to protest how hard it still is to climb the ladder as a woman in Hollywood. The protests, part of the rising “50/50 by 2020” movement was planned ahead of the premiere of “Girls of the Sun,” a film in competition by director Eva Husson, one of only three female filmmakers in competition.

That is an improvement over Cannes’ historical record.  Only 82 films in official selection in the history of the Cannes Film Festival have been directed by women.

Others expected to take part in the vigil are Salma Hayek, Marion Cotillard, director Patty Jenkins and Haifaa Al Mansour and agents including CAA’s Hylda Queally and activist-journalist Melissa Silverstein .

Duvernay and Stewart are on the jury. Fonda is here for the screening of a documentary about her life.

Silverstein told TheWrap that the protest originated with the French group Le Deuxieme Regard and the 5050by2020 collective, working directly with the festival.

“They get all the credit,” said Silverstein. “I am honored to work with them to amplify the message about the need for more women in the competition at the festival. This feels like a very big moment.”

As TheWrap reported recently, the statistics for women in Cannes are pretty dismal: Over the first 71 years, a paltry 4.3 percent of the competition films have been directed by women. (See chart below.) Only one, Jane Campion’s “The Piano,” has won Cannes’ top prize, the Palme d’Or, though actresses Adele Exarchopoulos and Lea Seydoux were given honorary Palmes alongside “Blue Is the Warmest Color” director Abdellatif Kechiche’s real one in 2013.

Admittedly, things are getting better. Of the 11 times that three or more women have placed films in competition, eight have come in the last 13 years. Three women made the cut in 2006, 2007, 2009, 2015, 2016, 2017 and 2018 — and four did so in 2011.

This year along with Husson, the women in competition include Nadine Labaki with “Capharnaum,” and Alice Rohrwacher with “Happy as Lazzaro.”

 

Cannes Film Review: Marion Cotillard in ‘Angel Face’

Acting is pretending. Great acting is doing it in such a way that audiences forget the artifice and buy into the reality of the character completely. Not many are likely to mistake what Marion Cotillard does in “Angel Face” for great acting, as the gla…

Acting is pretending. Great acting is doing it in such a way that audiences forget the artifice and buy into the reality of the character completely. Not many are likely to mistake what Marion Cotillard does in “Angel Face” for great acting, as the glamorous French star gives a performance so phony it feels like […]

Cannes Report, Day 4: Sales Market Heats Up, ‘355’ Sparks Bidding War, Jean-Luc Godard Is Back

Most thought this would be a slow Cannes Film Festival, but we’re already on day four and movies have been bought, there’s a bidding war going on, and well, Jean-Luc Godard is back to mess with our heads.

Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.

Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.

Also Read: Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.

See what everyone talked about during the fourth day at Cannes:

Acquisitions, Acquisitions

May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.

Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.

Also Read: Netflix Buys Animated Film ‘Next Gen’ for $30 Million

In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.

Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.

Speaking of Saban Films…

Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.

The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.

Jessica Chastain’s ‘355’ Bidding War

Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.

Also Read: Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Jean-Luc Godard’s ‘The Image Book’ Debuts

Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.

“THE IMAGE BOOK: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”

TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”

See some tweets about the film below.

THE IMAGE BOOK: who fuckin knows. But here are some nonverbal reviews from those seated near me!

– girl next to me covered ears for long stretches
-man two over checked phone 50, 60, and 65 minutes in
-guy in front of me buzzsaw snored for full minute before someone woke him up

— Charles Bramesco (@intothecrevasse) May 11, 2018

THE IMAGE BOOK: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit #Cannes2018 pic.twitter.com/H1mfgMIlcB

— Alicia Malone (@aliciamalone) May 11, 2018

THE IMAGE BOOK: Godard lays out all possibilities of cinema on display in 90 minutes. Now please start making your movie ffs. #cannes2018

— Ken Adams (@TaybackX) May 11, 2018

Just saw THE IMAGE BOOK by JLG. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say? #cannes2018

— ????Donald Clarke???? (@DonaldClarke63) May 11, 2018

Related stories from TheWrap:

Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’

‘Rafiki’ Film Review: African Gay Romance Is a First for Cannes

Cannes Report, Day 1: ‘Everybody Knows’ Premieres, Cate Blanchett Shines on the Croisette

Most thought this would be a slow Cannes Film Festival, but we’re already on day four and movies have been bought, there’s a bidding war going on, and well, Jean-Luc Godard is back to mess with our heads.

Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.

Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.

Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.

See what everyone talked about during the fourth day at Cannes:

Acquisitions, Acquisitions

May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.

Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.

In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.

Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.

Speaking of Saban Films…

Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.

The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.

Jessica Chastain’s ‘355’ Bidding War

Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.

Jean-Luc Godard’s ‘The Image Book’ Debuts

Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.

“THE IMAGE BOOK: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”

TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”

See some tweets about the film below.

Related stories from TheWrap:

Cannes Confirms 'Don Quixote' for Closing Night, Praises Court Win: 'Cinema Has Regained Its Rights'

'Rafiki' Film Review: African Gay Romance Is a First for Cannes

Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette

Jessica Chastain Spy Thriller ‘355’ Lands at Universal After Bidding War

The buzziest title for sale in this year’s Cannes film market has landed a buyer, with Universal Pictures announcing that it has acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war.

The film stars Jessica Chastian, Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing as spies, and was written by Theresa Rebeck. All five women, along with director Simon Kinberg, were in Cannes to pitch  the film to prospective buyers.

Chastain and Kelly Carmichael will produce for the actress’ Freckle Films company, along with Kinberg.

Also Read: Cannes’ Female Troubles: Women Directors Have Always Been Scarce

CAA Media Finance negotiated the deal with Universal. FilmNation Entertainment is handling international sales.

“355” was based on an original idea by Chastain about five female secret agents from different countries who team up to stop an evil syndicate from acquiring a super-weapon.

Matt Donnelly contributed to this report.

Related stories from TheWrap:

‘Girl’ Film Review: Transgender Teen Drama Is a True Cannes Discovery

Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’

The buzziest title for sale in this year’s Cannes film market has landed a buyer, with Universal Pictures announcing that it has acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war.

The film stars Jessica Chastian, Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing as spies, and was written by Theresa Rebeck. All five women, along with director Simon Kinberg, were in Cannes to pitch  the film to prospective buyers.

Chastain and Kelly Carmichael will produce for the actress’ Freckle Films company, along with Kinberg.

CAA Media Finance negotiated the deal with Universal. FilmNation Entertainment is handling international sales.

“355” was based on an original idea by Chastain about five female secret agents from different countries who team up to stop an evil syndicate from acquiring a super-weapon.

Matt Donnelly contributed to this report.

Related stories from TheWrap:

'Girl' Film Review: Transgender Teen Drama Is a True Cannes Discovery

Cannes Report, Day 3: Women Rule, 'Cold War' Hailed as 'Best Film' Yet

Cannes Confirms 'Don Quixote' for Closing Night, Praises Court Win: 'Cinema Has Regained Its Rights'

Universal Closes $20M+ U.S. Deal For Star-Studded Spy Sisterhood Thriller ‘355:’ Cannes

EXCLUSIVE: Universal has beaten out multiple bidders to take U.S. rights on 355, the Simon Kinberg-directed global spy thriller franchise that will star Jessica Chastain, Marion Cotillard, Penelope Cruz, Fan Bingbing and Lupita Nyong’o. Deal is north o…

EXCLUSIVE: Universal has beaten out multiple bidders to take U.S. rights on 355, the Simon Kinberg-directed global spy thriller franchise that will star Jessica Chastain, Marion Cotillard, Penelope Cruz, Fan Bingbing and Lupita Nyong'o. Deal is north of $20 million, with the promise of a wide release. Now, other deals for international territories will follow that will make this one of the biggest Cannes Market packages in memory. The film will be budgeted at around $75…

Badass actors’ badass spy movie is in a badass bidding war

Sure, the most recent Bourne movie was a dip in quality, and some other recent spy-game offerings, like Red Sparrow, weren’t as fun as we wanted them to be. But maybe there’s a simple solution staring us in the face: Get Jessica Chastain, Lupita Nyong’…

Sure, the most recent Bourne movie was a dip in quality, and some other recent spy-game offerings, like Red Sparrow, weren’t as fun as we wanted them to be. But maybe there’s a simple solution staring us in the face: Get Jessica Chastain, Lupita Nyong’o, Marion Cotillard, and Penelope Cruz to be your kickass spies.

Read more...

Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet

Distributors are buying films faster at this year’s Cannes Film Festival than they did at the last Sundance or Toronto fests.

On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.

Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).

Also Read: Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.

See below for highlights from Cannes, day three:

Saban Films Plays the Game

Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.

Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.

Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.

Also Read: Terry Gilliam’s Epically Troubled ‘The Man Who Killed Don Quixote:’ A Brief History

Sony Classics

Sony Classics Flips for “Capernaum”

On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.

The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.

Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.

Getty Images

Ryan Coogler’s Panel

“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.

When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”

Also Read: Cannes Report, Day 1: ‘Everybody Knows’ Premieres, Cate Blanchett Shines on the Croisette

He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.

“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”

Jessica Chastain’s All-Star ‘355’ Gets French Deal

In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from SND.

The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.

However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades.  Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.

Also Read: ‘Sorry Angel’ Film Review: AIDS Drama Explores the Quiet Places

‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews

Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.

Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”

IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”

However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”

‘Cold War’ Also Debuts

Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”

Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,’” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.

Also Read: ‘Cold War’ Film Review: Romance in Postwar Europe Is Ravishing and Haunted

See some more reactions to the movie below.

COLD WAR doesn’t waste a frame. IDA had more mystery and wonder, but this is a natural continuation, visually and thematically, for a fimmmaker obsessed with exploring the post-WWII fracturing of European identity. A concise treat. #cannes

— erickohn (@erickohn) May 11, 2018

COLD WAR: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.

— Charles Bramesco (@intothecrevasse) May 11, 2018

Having now seen Cold War I can report back that it is absolutely brilliant – a heartbreaking story, with astonishing performances and a hauntingly beautiful soundtrack. I would recommend it to all. Cate Blanchett, it’s got my vote! ???????????? #cannes2018 @Festival_Cannes

— Margot James (@margot_james_mp) May 10, 2018

The buzz ahead of Cannes around Pawel Pawlikowski’s ‘Cold War’ is strong. Have heard from a few people that it will be in contention for awards. Certainly looks beautiful and if it approaches ‘Ida’ we’re in for a treat. pic.twitter.com/xANuF9htV5

— Andreas Wiseman (@AndreasWiseman) May 3, 2018

Cold War by Pawlikowski is superb, by some distance the best in the main competition thus far @IFI_Dub @Festival_Cannes pic.twitter.com/2zA289aNGO

— David O Mahony (@David_O_Mahony) May 11, 2018

Related stories from TheWrap:

Cannes Confirms ‘Don Quixote’ for Closing Night, Praises Court Win: ‘Cinema Has Regained Its Rights’

‘BlacKkKlansman’ Star Laura Harrier on Going From Spider-Man’s Homecoming to Cannes Red Carpet

‘Rafiki’ Film Review: African Gay Romance Is a First for Cannes

Distributors are buying films faster at this year’s Cannes Film Festival than they did at the last Sundance or Toronto fests.

On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.

Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).

Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.

See below for highlights from Cannes, day three:

Saban Films Plays the Game

Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.

Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.

Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.

Sony Classics

Sony Classics Flips for “Capernaum”

On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.

The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.

Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.

Getty Images

Ryan Coogler’s Panel

“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.

When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”

He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.

“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”

Jessica Chastain’s All-Star ‘355’ Gets French Deal

In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from SND.

The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.

However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades.  Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.

‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews

Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.

Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”

IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”

However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”

‘Cold War’ Also Debuts

Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”

Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,'” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.

See some more reactions to the movie below.

Related stories from TheWrap:

Cannes Confirms 'Don Quixote' for Closing Night, Praises Court Win: 'Cinema Has Regained Its Rights'

'BlacKkKlansman' Star Laura Harrier on Going From Spider-Man's Homecoming to Cannes Red Carpet

'Rafiki' Film Review: African Gay Romance Is a First for Cannes

‘355:’ Jessica Chastain Female All-Star Thriller Secures French Distribution From SND

Jessica Chastain’s female all-star spy thriller “355” has secured French distribution from SND.

The film will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

The actresses appeared together for a photocall (above) to promote “355” on Thursday from the 71st annual Cannes Film Festival at Majestic Beach Pier.

Also Read: Gerard Butler’s ‘Keepers’ Picked Up by Saban Films

Theresa Rebeck wrote the screenplay based on an original idea by Chastain. Chastain and Kelly Carmichael are producing the ensemble through Chastain’s Freckle Films along with Kinberg under his Kinberg Genre banner.

“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.

“I had so much fun working on ‘The Help’ that I always wanted to do another female ensemble film,” Chastain told Deadline. “I love the ‘Bourne’ movies, the ‘Mission: Impossible’ films, and wondered why, except for ‘Charlie’s Angels,’ there hadn’t been a true female ensemble action-thriller spy film. That got my wheels going, along with the idea of casting actresses from all over the world to truly make it an international project.

Also Read: Gerard Butler’s ‘Keepers’ Picked Up by Saban Films

The Oscar-nominated actress added, “Agent 355 was the code name of a female spy during the American Revolution. She was one of the very first spies for the United States, and her identity is still unknown. For a lot of women who work in the CIA and other organizations like that, Code 355 is a universal slang term for female spy. It’s the invisible woman who was never named.”

Also Read: Terry Gilliam’s Epically Troubled ‘The Man Who Killed Don Quixote:’ A Brief History

FilmNation Entertainment and CAA Media Finance Group repped the project in the deal.

Deadline first reported the news about the French acquisition.

Related stories from TheWrap:

Cannes Report, Day 2: ‘Rafiki’ Makes History, ‘Don Quixote’ Scores Legal Victory

Cannes Report, Day 1: ‘Everybody Knows’ Premieres, Cate Blanchett Shines on the Croisette

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Jessica Chastain’s female all-star spy thriller “355” has secured French distribution from SND.

The film will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

The actresses appeared together for a photocall (above) to promote “355” on Thursday from the 71st annual Cannes Film Festival at Majestic Beach Pier.

Theresa Rebeck wrote the screenplay based on an original idea by Chastain. Chastain and Kelly Carmichael are producing the ensemble through Chastain’s Freckle Films along with Kinberg under his Kinberg Genre banner.

“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.

“I had so much fun working on ‘The Help’ that I always wanted to do another female ensemble film,” Chastain told Deadline. “I love the ‘Bourne’ movies, the ‘Mission: Impossible’ films, and wondered why, except for ‘Charlie’s Angels,’ there hadn’t been a true female ensemble action-thriller spy film. That got my wheels going, along with the idea of casting actresses from all over the world to truly make it an international project.

The Oscar-nominated actress added, “Agent 355 was the code name of a female spy during the American Revolution. She was one of the very first spies for the United States, and her identity is still unknown. For a lot of women who work in the CIA and other organizations like that, Code 355 is a universal slang term for female spy. It’s the invisible woman who was never named.”

FilmNation Entertainment and CAA Media Finance Group repped the project in the deal.

Deadline first reported the news about the French acquisition.

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Hot Cannes Spy Film ‘355’ Scores Big Deal With French Distributor SND

EXCLUSIVE: The all-star spy thriller 355 has scored its first major territorial deal, with FilmNation Entertainment and CAA Media Finance Group setting a whopping deal in France with SND this evening.
That deal was made before tomorrow’s affair a…

EXCLUSIVE: The all-star spy thriller 355 has scored its first major territorial deal, with FilmNation Entertainment and CAA Media Finance Group setting a whopping deal in France with SND this evening. That deal was made before tomorrow’s affair at the Cannes Majestic where director Simon Kinberg will be on hand with Jessica Chastain, Marion Cotillard, Penelope Cruz, Fan Bingbing and Lupita Nyong'o to discuss their ambition for the spy ensemble, before a crowd of…

Jessica Chastain, Lupita Nyong’o, Marion Cotillard to Star in Spy Thriller ‘355’

Jessica Chastain, Lupita Nyong’o, Marion Cotillard, Fan Bingbing, and Penelope Cruz have signed on for the independent spy thriller “355.” Chastain’s Freckle Films will produce “355,” which Simon Kinberg will direct from a…

Jessica Chastain, Lupita Nyong’o, Marion Cotillard, Fan Bingbing, and Penelope Cruz have signed on for the independent spy thriller “355.” Chastain’s Freckle Films will produce “355,” which Simon Kinberg will direct from a script by Theresa Rebeck based on an original idea by Chastain. Producers are Chastain and Kelly Carmichael through Freckle Films along with […]

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‘Ismael’s Ghosts’ Film Review: Marion Cotillard Haunts Fascinating Psychological Drama

It’s not just that the woman (Marion Cotillard) goes missing for 21 years — registered as “absent” yet presumed dead — only to return and subsequently announce to a social services worker, “My name is Carlotta Bloom, and I’m back.” It’s not just that she’s named Carlotta, with all the “Vertigo” signaling that entails (there’s even a portrait of Carlotta for those keeping track).

And it’s not just that she’s maddeningly opaque and slow to explain herself to her husband Ismael Vuillard (Mathieu Amalric) and his partner Sylvia (Charlotte Gainsbourg), or even to reveal herself as still alive to her long-grieving father Henri (Godard regular László Szabó). It’s that in spite of the disruption of her return, she might not be the most pressing bit of information complicating Ismael’s life. She might not even be real.

Ambiguous, criss-crossing identity, both personal and cinematic, is the fragile underpinning of the impeccably messy “Ismael’s Ghosts,” French filmmaker Arnaud Desplechin’s latest — this U.S. release re-edited and extended by 20 minutes after a shorter version’s premiere at the 2017 Cannes Film Festival — and by the time Cotillard performs a strange, clunky, and thematically appropriate dance to Bob Dylan’s “It Ain’t Me, Babe,” it becomes clear that nothing is clear except Desplechin’s commitment to a mad pastiche of his own design.

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Carlotta, for all the chaos she brings, is only one element of the storm brewing in “Ghosts,” and Cotillard’s arrested-development performance allows her to recede when Desplechin decides to make complicated narrative moves. Coinciding with Carlotta’s apparent resurrection, Ismael, a filmmaker himself, becomes creatively blocked and disturbed by nightmares, recalling Federico Fellini’s “8 ½”. He’s working on a Cold War espionage movie, one starring Louis Garrel as an oddball spy with a habit of taking naps to avoid his own chronic bad dreams, and production has ground to a halt.

Garrell’s character, Ivan Dedalus, will ring a narrative bell with attentive audiences: the character of Paul Dedalus in Desplechin’s 2015 film “My Golden Years” was also suspected of being a Russian spy, and the Dedalus and Vuillard family names wind their way through many of the director’s projects, with Amalric often playing recurring roles, including that of Ismael in 2004’s “Kings & Queen.”

In the latter half of “Ghosts,” Garrel shows up as someone else, Ismael’s estranged brother, who is also named Ivan. When informed of Ismael’s disappearance from his own set and Ivan’s involuntary role in the film’s plot, the weary sibling winks at Desplechin’s tendency to saddle his fictional Dedalus and Vuillard clans with fresh trouble every time the cameras roll and remarks, “Is my brother ridiculing our family again? Whose turn is it this time?”

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Hallucinations take over Ismael’s waking life; characters leave and then return; an adopted son mentioned by Ismael never materializes; religious metaphors bounce around and then settle in, undeveloped; theories of psychoanalysis ground conversations about the nature of reality and mirrored selves; the advent of visual perspective in classical painting gets thrown in there, too. Why not?

Amalric, Desplechin’s go-to central figure in film after film, is instantly comfortable as his disheveled-with-cigarettes avatar, a sympathetic near-parody of midlife failure, the easily spotted, self-centered artist whose uncertainty might destroy him. We root for him because not to probably means certain collapse.

Not that Desplechin is especially tender with his protagonist or all that concerned with his well-being. If having a possibly literal ghost arrive to ruin Ismael’s life weren’t enough, Desplechin’s physical practice of filmmaking — dissolves within scenes, characters breaking the fourth wall, expanding and contracting iris shots that frame action in black voids, black-and-white rear projections, close-ups that linger longer than comfort would recommend — works hard toward compounding Ismael’s and the audience’s sense of disorientation. This is filmmaking that demands to be noticed, if not always trusted.

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And in the end, there might not be any real ghosts. Carlotta may just have a conveniently evocative name and poor timing. Ismael’s breakdown may just be too much booze, insomnia, and guilt. Reality may just be what it appears to be.

But more likely it’s true that Desplechin is here to remind us that all readings are subjective, that stories end differently depending on who’s doing the telling and who’s doing the listening. At one point, Ismael is accused of directing films in a way that puts him “all over the screen,” in spite of his protestations that his “job is to disappear,” to be an objective observer.

Of course, there’s no such thing. Desplechin delivers a raft of unreliable narrators, both real and imagined, to tangle you up in knots, and in doing so cops to it himself.



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It’s not just that the woman (Marion Cotillard) goes missing for 21 years — registered as “absent” yet presumed dead — only to return and subsequently announce to a social services worker, “My name is Carlotta Bloom, and I’m back.” It’s not just that she’s named Carlotta, with all the “Vertigo” signaling that entails (there’s even a portrait of Carlotta for those keeping track).

And it’s not just that she’s maddeningly opaque and slow to explain herself to her husband Ismael Vuillard (Mathieu Amalric) and his partner Sylvia (Charlotte Gainsbourg), or even to reveal herself as still alive to her long-grieving father Henri (Godard regular László Szabó). It’s that in spite of the disruption of her return, she might not be the most pressing bit of information complicating Ismael’s life. She might not even be real.

Ambiguous, criss-crossing identity, both personal and cinematic, is the fragile underpinning of the impeccably messy “Ismael’s Ghosts,” French filmmaker Arnaud Desplechin’s latest — this U.S. release re-edited and extended by 20 minutes after a shorter version’s premiere at the 2017 Cannes Film Festival — and by the time Cotillard performs a strange, clunky, and thematically appropriate dance to Bob Dylan’s “It Ain’t Me, Babe,” it becomes clear that nothing is clear except Desplechin’s commitment to a mad pastiche of his own design.

Carlotta, for all the chaos she brings, is only one element of the storm brewing in “Ghosts,” and Cotillard’s arrested-development performance allows her to recede when Desplechin decides to make complicated narrative moves. Coinciding with Carlotta’s apparent resurrection, Ismael, a filmmaker himself, becomes creatively blocked and disturbed by nightmares, recalling Federico Fellini’s “8 ½”. He’s working on a Cold War espionage movie, one starring Louis Garrel as an oddball spy with a habit of taking naps to avoid his own chronic bad dreams, and production has ground to a halt.

Garrell’s character, Ivan Dedalus, will ring a narrative bell with attentive audiences: the character of Paul Dedalus in Desplechin’s 2015 film “My Golden Years” was also suspected of being a Russian spy, and the Dedalus and Vuillard family names wind their way through many of the director’s projects, with Amalric often playing recurring roles, including that of Ismael in 2004’s “Kings & Queen.”

In the latter half of “Ghosts,” Garrel shows up as someone else, Ismael’s estranged brother, who is also named Ivan. When informed of Ismael’s disappearance from his own set and Ivan’s involuntary role in the film’s plot, the weary sibling winks at Desplechin’s tendency to saddle his fictional Dedalus and Vuillard clans with fresh trouble every time the cameras roll and remarks, “Is my brother ridiculing our family again? Whose turn is it this time?”

Hallucinations take over Ismael’s waking life; characters leave and then return; an adopted son mentioned by Ismael never materializes; religious metaphors bounce around and then settle in, undeveloped; theories of psychoanalysis ground conversations about the nature of reality and mirrored selves; the advent of visual perspective in classical painting gets thrown in there, too. Why not?

Amalric, Desplechin’s go-to central figure in film after film, is instantly comfortable as his disheveled-with-cigarettes avatar, a sympathetic near-parody of midlife failure, the easily spotted, self-centered artist whose uncertainty might destroy him. We root for him because not to probably means certain collapse.

Not that Desplechin is especially tender with his protagonist or all that concerned with his well-being. If having a possibly literal ghost arrive to ruin Ismael’s life weren’t enough, Desplechin’s physical practice of filmmaking — dissolves within scenes, characters breaking the fourth wall, expanding and contracting iris shots that frame action in black voids, black-and-white rear projections, close-ups that linger longer than comfort would recommend — works hard toward compounding Ismael’s and the audience’s sense of disorientation. This is filmmaking that demands to be noticed, if not always trusted.

And in the end, there might not be any real ghosts. Carlotta may just have a conveniently evocative name and poor timing. Ismael’s breakdown may just be too much booze, insomnia, and guilt. Reality may just be what it appears to be.

But more likely it’s true that Desplechin is here to remind us that all readings are subjective, that stories end differently depending on who’s doing the telling and who’s doing the listening. At one point, Ismael is accused of directing films in a way that puts him “all over the screen,” in spite of his protestations that his “job is to disappear,” to be an objective observer.

Of course, there’s no such thing. Desplechin delivers a raft of unreliable narrators, both real and imagined, to tangle you up in knots, and in doing so cops to it himself.

Related stories from TheWrap:

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