Debra Granik, Gaspar Noe Films Selected for Cannes’ Directors’ Fortnight Lineup

Debra Granik, Romain Gavras, Ciro Guerra and Gaspar Noe are among the directors whose films will be included in the 50th Directors’ Fortnight, an independent sidebar that will run concurrently with the Cannes Film Festival in May.

Granik will go to Cannes with “Leave No Trace,” her first narrative film since the Oscar-nominated “Winter’s Bone” in 2010, and a film that received strong reviews when it premiered at Sundance in January.

Gavras, best known for his videos for M.I.A., Kanye West and Jay-Z and others, will be there with “Le monde est a toi,” while Guerra and his co-director Cristina Gallego, who made the Oscar-nominated “Embrace of the Serpent,” will bring “Birds of Passage” to Directors’ Fortnight.

The Argentinian provocateur Noe will bring “Climax” to the festival.

Also in the selection: Panos Cosmatos’ horror film “Mandy,” which features what is reportedly another wild performance from Nicolas Cage.

Directors’ Fortnight (Quinzaine des Realisateurs) was established in 1969, in the aftermath of a 1968 Cannes Film Festival that was cancelled midway through in solidarity with the protests sweeping through France. It was set up to offer a more daring and experimental slate than the main festival, and over the years provided the first Cannes exposure for such directors as Martin Scorsese, Werner Herzog, Michael Haneke and Spike Lee.

Also Read: Cannes Lineup Reaches From Spike Lee to Jean-Luc Godard

Directors’ Fortnight will open on May 9 and run through May 19.

The lineup:

“Pajaros de verano” (“Birds of Passage”), Ciro Guerra and Cristina Gallego (opening film)
“Amin,” Philippe Faucon
“Carmen Y Lola,” Arantxa Echevarria
“Climax,” Gaspar Noe
“Comprama un revolver,” Julio Hernandez Cordon
“Les Confins du Monde,” Guillaume Nicloux
“El motoarrebatador,” Augustin Toscano
“En Liberte,” Pierre Salvador
“Joueurs,” Marie Monge
“Leave No Trace,” Debra Granik
“Los Silencios,” Beatriz Seigner
“Ming wang xing shi ke,” Ming Zhang
“Mandy,” Panos Cosmatos
“Mirai,” Mamoru Hosoda
“Le monde est a toi,” Romain Gavras
“Petra,” Jaime Rosales
“Samouni Road,” Stefano Savona
“Teret,” Ognjen Glavonic
“Weldi,” Mohamed Ben Attia
“Troppa Grazia,” Gianni Zanasi (closing film)

Short films:
“Basses,” Felix Imbert
“Ce Magnifique gateau” (“This Magnificent Cake”), Emma De Swaef & Marc Roels
“La Lotta,” Marco Belocchio
“Las Cruces,” Nicolas Boone
“La nuit des sacs plastiques,” Gabriel Harel
“O orfao,” Carolina Markowicz
“Our Song to War,” Juanita Onzaga
“Skip Day,” Patrick Bresnan & Ivette Lucas
“Le Sujet,” Patrick Bouchard

Related stories from TheWrap:

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Netflix Bails on Cannes Over Theatrical Release Mandate

Debra Granik, Romain Gavras, Ciro Guerra and Gaspar Noe are among the directors whose films will be included in the 50th Directors’ Fortnight, an independent sidebar that will run concurrently with the Cannes Film Festival in May.

Granik will go to Cannes with “Leave No Trace,” her first narrative film since the Oscar-nominated “Winter’s Bone” in 2010, and a film that received strong reviews when it premiered at Sundance in January.

Gavras, best known for his videos for M.I.A., Kanye West and Jay-Z and others, will be there with “Le monde est a toi,” while Guerra and his co-director Cristina Gallego, who made the Oscar-nominated “Embrace of the Serpent,” will bring “Birds of Passage” to Directors’ Fortnight.

The Argentinian provocateur Noe will bring “Climax” to the festival.

Also in the selection: Panos Cosmatos’ horror film “Mandy,” which features what is reportedly another wild performance from Nicolas Cage.

Directors’ Fortnight (Quinzaine des Realisateurs) was established in 1969, in the aftermath of a 1968 Cannes Film Festival that was cancelled midway through in solidarity with the protests sweeping through France. It was set up to offer a more daring and experimental slate than the main festival, and over the years provided the first Cannes exposure for such directors as Martin Scorsese, Werner Herzog, Michael Haneke and Spike Lee.

Directors’ Fortnight will open on May 9 and run through May 19.

The lineup:

“Pajaros de verano” (“Birds of Passage”), Ciro Guerra and Cristina Gallego (opening film)
“Amin,” Philippe Faucon
“Carmen Y Lola,” Arantxa Echevarria
“Climax,” Gaspar Noe
“Comprama un revolver,” Julio Hernandez Cordon
“Les Confins du Monde,” Guillaume Nicloux
“El motoarrebatador,” Augustin Toscano
“En Liberte,” Pierre Salvador
“Joueurs,” Marie Monge
“Leave No Trace,” Debra Granik
“Los Silencios,” Beatriz Seigner
“Ming wang xing shi ke,” Ming Zhang
“Mandy,” Panos Cosmatos
“Mirai,” Mamoru Hosoda
“Le monde est a toi,” Romain Gavras
“Petra,” Jaime Rosales
“Samouni Road,” Stefano Savona
“Teret,” Ognjen Glavonic
“Weldi,” Mohamed Ben Attia
“Troppa Grazia,” Gianni Zanasi (closing film)

Short films:
“Basses,” Felix Imbert
“Ce Magnifique gateau” (“This Magnificent Cake”), Emma De Swaef & Marc Roels
“La Lotta,” Marco Belocchio
“Las Cruces,” Nicolas Boone
“La nuit des sacs plastiques,” Gabriel Harel
“O orfao,” Carolina Markowicz
“Our Song to War,” Juanita Onzaga
“Skip Day,” Patrick Bresnan & Ivette Lucas
“Le Sujet,” Patrick Bouchard

Related stories from TheWrap:

Cannes Will Welcome Back Lars von Trier, Says Festival Director

Majority of Cannes Critics' Week Competition Films Were Directed by Women

Netflix Bails on Cannes Over Theatrical Release Mandate

Cannes Will Welcome Back Lars von Trier, Says Festival Director

Director Lars von Trier, who was declared “persona non grata” at the 2011 Cannes Film Festival for comments he made about Adolph Hitler, will return to Cannes for the first time since then, festival general delegate Thierry Fremaux said on French radio on Tuesday.

Von Trier’s “The House That Jack Built,” the study of a serial killer played by Matt Dillon, has long been rumored to be a contender for a slot at this year’s festival. When asked about that by a French radio host, Fremaux confirmed that Cannes would have a von Trier announcement in the coming days.

When the host pressed him to confirm that the film had been added to the lineup, Fremaux responded, “I sort of did.”

Also Read: Cannes Lineup Reaches From Spike Lee to Jean-Luc Godard

“The House That Jack Built” is set in Washington State and covers the life of the killer over a dozen years. Other cast members include Riley Keough, Bruno Ganz and Uma Thurman. IFC acquired U.S. rights to the film in Cannes last May.

Known as a cinematic provocateur, the Danish director caused a furor at Cannes in 2011 when his film “Melancholia” screened in the main competition. Asked at a press conference to discuss his German roots and his interest in the Nazi aesthetic, he began a long and rambling answer by saying, “I thought I was a Jew for a long time, and I was very happy… But it turned out that I was not a Jew…

“And then I found out that I was really a Nazi, because my family was German. Which also gave me some pleasure. What can I say?”

Also Read: Lars von Trier Denies Björk’s Sexual Harassment Claims

As the film’s star, Kirsten Dunst, pleaded with von Trier to stop talking, he added, “I understand Hitler. I think he did some wrong things, absolutely, but I can see him sitting in his bunker at the end. I think I understand the man. He’s not what you call a good guy, but I understand much about him, and I sympathize with him a little bit.”

While von Trier quickly issued a formal apology for the comments, he was banned from the rest of the festival and declared “persona non grata,” though “Melancholia” remained in the official competition. (Dunst won the festival’s best actress award.)

The director’s next film, the two-part 2013 drama “Nymphomaniac,” did not screen in Cannes. But Fremaux has in recent years said that he was open to having von Trier return to the festival, and in Tuesday’s interview he said that festival president Pierre Lescure has been working to lift the director’s “persona non grata” status.

Fremaux also said that Russian director Andrey Zvyagintsev, who was in competition at Cannes last year with “Loveless,” will serve on the jury this year. The rest of the jury, which will be headed by Cate Blanchett, has yet to be announced.

Ben Croll contributed to this report.

Related stories from TheWrap:

Lars Von Trier’s Serial Killer Movie ‘The House That Jack Built’ Lands at IFC Films

‘Nymphomaniac’ Reviews: Is Lars von Triers’ Latest Sexy or Stupid?

Lars von Trier is an Idiot, and Other Lessons We Learned at Cannes

Director Lars von Trier, who was declared “persona non grata” at the 2011 Cannes Film Festival for comments he made about Adolph Hitler, will return to Cannes for the first time since then, festival general delegate Thierry Fremaux said on French radio on Tuesday.

Von Trier’s “The House That Jack Built,” the study of a serial killer played by Matt Dillon, has long been rumored to be a contender for a slot at this year’s festival. When asked about that by a French radio host, Fremaux confirmed that Cannes would have a von Trier announcement in the coming days.

When the host pressed him to confirm that the film had been added to the lineup, Fremaux responded, “I sort of did.”

“The House That Jack Built” is set in Washington State and covers the life of the killer over a dozen years. Other cast members include Riley Keough, Bruno Ganz and Uma Thurman. IFC acquired U.S. rights to the film in Cannes last May.

Known as a cinematic provocateur, the Danish director caused a furor at Cannes in 2011 when his film “Melancholia” screened in the main competition. Asked at a press conference to discuss his German roots and his interest in the Nazi aesthetic, he began a long and rambling answer by saying, “I thought I was a Jew for a long time, and I was very happy… But it turned out that I was not a Jew…

“And then I found out that I was really a Nazi, because my family was German. Which also gave me some pleasure. What can I say?”

As the film’s star, Kirsten Dunst, pleaded with von Trier to stop talking, he added, “I understand Hitler. I think he did some wrong things, absolutely, but I can see him sitting in his bunker at the end. I think I understand the man. He’s not what you call a good guy, but I understand much about him, and I sympathize with him a little bit.”

While von Trier quickly issued a formal apology for the comments, he was banned from the rest of the festival and declared “persona non grata,” though “Melancholia” remained in the official competition. (Dunst won the festival’s best actress award.)

The director’s next film, the two-part 2013 drama “Nymphomaniac,” did not screen in Cannes. But Fremaux has in recent years said that he was open to having von Trier return to the festival, and in Tuesday’s interview he said that festival president Pierre Lescure has been working to lift the director’s “persona non grata” status.

Fremaux also said that Russian director Andrey Zvyagintsev, who was in competition at Cannes last year with “Loveless,” will serve on the jury this year. The rest of the jury, which will be headed by Cate Blanchett, has yet to be announced.

Ben Croll contributed to this report.

Related stories from TheWrap:

Lars Von Trier's Serial Killer Movie 'The House That Jack Built' Lands at IFC Films

'Nymphomaniac' Reviews: Is Lars von Triers' Latest Sexy or Stupid?

Lars von Trier is an Idiot, and Other Lessons We Learned at Cannes

Paul Dano’s ‘Wildlife” Headed to Cannes in Critics’ Week Selection

“Wildlife,” Paul Dano’s adaptation of a Richard Ford novel starring Carey Mulligan and Jake Gyllenhaal, has been chosen to screen in the International Critics’ Week sidebar at the 2018 Cannes Film Festival.

Critics’ Week is run independently of the main festival but takes place concurrently. The selection is devoted to first and second films from new directors — and its directorial debuts, including “Wildlife,” are eligible for Cannes’ Camera d’Or for the festival’s best first film.

“Wildlife” debuted at the Sundance Film Festival in January, where it won positive reviews and was acquired by IFC Films. The only American film screening in Critics’ Week, it will be presented as a special opening-night screening in the sidebar.

Also Read: ‘Wildlife’ Review: Paul Dano’s Directorial Debut Is an Austere Portrait of a Family in Crisis

 

International Critics’ Week (Semaine de la Critique) is organized by the French Union of Film Critics, which is made up of 244 critics, writers and journalists. The oldest parallel section to the Cannes Film Festival, it began in 1962.

The winners will be chosen by a jury headed by Danish director Joachim Trier and also including American actress Chloe Sevigny, Argentinian actor Nahuel Perez Biscayart, festival programmer Eva Sangiori and French journalist Augustin Trapenard.

Filmmakers who first screened in Cannes as part of Critics’ Week include Bernardo Bertolucci, Ken Loach, Guillermo del Toro, Jacques Audiard and Alejandro G. Inarritu.

The other main sidebar that runs concurrently with the festival, Directors’ Fortnight, will announce its lineup on Tuesday.

This year’s Cannes Film Festival will run from May 8 through May 19.

More to come.

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‘You Were Never Really Here’ Rides Cannes Praise to Big Indie Box Office Start

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“Wildlife,” Paul Dano’s adaptation of a Richard Ford novel starring Carey Mulligan and Jake Gyllenhaal, has been chosen to screen in the International Critics’ Week sidebar at the 2018 Cannes Film Festival.

Critics’ Week is run independently of the main festival but takes place concurrently. The selection is devoted to first and second films from new directors — and its directorial debuts, including “Wildlife,” are eligible for Cannes’ Camera d’Or for the festival’s best first film.

“Wildlife” debuted at the Sundance Film Festival in January, where it won positive reviews and was acquired by IFC Films. The only American film screening in Critics’ Week, it will be presented as a special opening-night screening in the sidebar.

 

International Critics’ Week (Semaine de la Critique) is organized by the French Union of Film Critics, which is made up of 244 critics, writers and journalists. The oldest parallel section to the Cannes Film Festival, it began in 1962.

The winners will be chosen by a jury headed by Danish director Joachim Trier and also including American actress Chloe Sevigny, Argentinian actor Nahuel Perez Biscayart, festival programmer Eva Sangiori and French journalist Augustin Trapenard.

Filmmakers who first screened in Cannes as part of Critics’ Week include Bernardo Bertolucci, Ken Loach, Guillermo del Toro, Jacques Audiard and Alejandro G. Inarritu.

The other main sidebar that runs concurrently with the festival, Directors’ Fortnight, will announce its lineup on Tuesday.

This year’s Cannes Film Festival will run from May 8 through May 19.

More to come.

Related stories from TheWrap:

'You Were Never Really Here' Rides Cannes Praise to Big Indie Box Office Start

'Solo: A Star Wars Story' to Premiere at Cannes Film Festival

Penelope Cruz, Javier Bardem Film 'Everybody Knows' to Open Cannes Film Festival

How Tom Petty Became the Key to HBO’s Elvis Presley Documentary

HBO’s two-part documentary “Elvis Presley: The Searcher” covers lots of ground and talks to lots of people who were close to Elvis. But according to director Thom Zimny and producer Jon Landau, a key to the film came from one of the last people they interviewed: Tom Petty, who sat down to talk about Elvis in March 2017, less than seven months before his unexpected death.

“What Tom did, perhaps more than anybody, was tell the story that we were trying to tell,” said Landau, the longtime manager of Bruce Springsteen, who is also interviewed in “The Searcher.” “Tom started talking about the later part of Elvis’ career, which is typically dealt with dismissively. He said, ‘Yeah, but when you put all the craziness aside, there is still this incredible singer, surrounded by this incredible band.’

“And he chose, as an example, this piece called ‘American Trilogy,’ a very corny but soulful and beautiful trilogy that Elvis used to do. Tom described exactly what it meant to have Elvis transcend the corniness to do something so stirring and so great. Thom [Zimny] and I had been planning to use ‘American Trilogy’ all along, but Tom spontaneously brought it into the discussion on its own.”

Also Read: ‘The King’ Director Eugene Jarecki on How Elvis Is Metaphor for America

Petty, added Zimny, was one of the final interviews that was done for “The Searcher.” “I’ve had no experience like that interview before,” said the director, whose other work includes editing a dozen episodes of “The Wire” and directing several documentaries about Springsteen.

“Tom seemed completely in sync with the film I was talking about for many years with Jon. The ‘American Trilogy’ sequence was an idea between Jon and I: How can we bring the interpretation of his later touring career to a different place? And Tom just went there.”

Petty is only one of many voices in “The Searcher,” a two-part, four-hour chronicle of Elvis’ life and career that premieres on HBO on Saturday. But one of his comments could serve as a mission statement for the film: “[Elvis] had no road map and he forged a path of what to do and what not to do. And we shouldn’t make the mistake of writing off a great artist because of all the clatter that came later. We should dwell in what he did that was so beautiful and everlasting, which was that great, great music.”

The film began when Priscilla Presley, Elvis’ ex-wife and a key figure in the Elvis estate, approached HBO with the idea of a new documentary using rare footage from the archives. HBO went to Landau, who in his younger days as a rock critic wrote one of the first serious appraisals of the ’70s Elvis as a musical and cultural force.

Also Read: How Elvis Presley’s Death Led to the Birth of Modern Entertainment Journalism (Guest Blog)

“My idea was to tell the story from the beginning to the end, good times and bad times,” Landau said. “Elvis’ weaknesses, his bad decisions, the things he had no control over because of the Colonel [his manager, Colonel Tom Parker] — we have to cover all those things, but I don’t want the film to be about those things.

“I ultimately wanted this thing to be about this genius. Because I believe he was a genius from start to finish, even when he was recording the soundtrack to ‘Clambake.’”

Zimny said Landau was an important voice in the making of the film — but so was Priscilla, who provided the film’s title when she commented that Elvis spent his whole life as “a searcher.”

“It almost became a joke when we were in the editing room,” said Landau. “Anytime we got stumped, I would say, ‘Why don’t we add more Priscilla?’ Because everything she said was so empathetic and intelligent.”

Also Read: ‘Elvis & Nixon’ Tribeca Review: Michael Shannon and Kevin Spacey Meet in Dis-Graceland

Like every other interview subject, though, Priscilla is never seen on camera talking about Elvis. All the interviews in “The Searcher” were audio-only, with none of the talking-head footage that is standard in documentaries like this. And while the four hours contain Elvis footage that we’ve seen before, the filmmakers made a conscious effort to find a new approach.

“The idea was not to repeat images of Elvis that we had seen 1000 times,” said Zimny. “And by not cutting to a talking head sitting in a chair, it gives you freedom. It’s daunting at first because you have Tom Petty or Bruce Springsteen or Robbie Robertson talking, and you have to come up with an image. But I loved the idea of finding outtakes or using Super 8 footage that doesn’t feel like it’s from a clip reel. We wanted to keep away from the VH1 language.

“I felt that we had to trust that the audience has an understanding of Elvis’ story, so let’s focus on the beats between the big moments. He wanted to do a gospel song on the Ed Sullivan show? Let’s concentrate on that, not on how he was shot from the waist up.”

Related stories from TheWrap:

How Elvis Presley’s Death Led to the Birth of Modern Entertainment Journalism (Guest Blog)

Elvis Presley Lands Posthumous Grammy Nomination

Elvis Presley: The Lonely Birthday Boy

HBO’s two-part documentary “Elvis Presley: The Searcher” covers lots of ground and talks to lots of people who were close to Elvis. But according to director Thom Zimny and producer Jon Landau, a key to the film came from one of the last people they interviewed: Tom Petty, who sat down to talk about Elvis in March 2017, less than seven months before his unexpected death.

“What Tom did, perhaps more than anybody, was tell the story that we were trying to tell,” said Landau, the longtime manager of Bruce Springsteen, who is also interviewed in “The Searcher.” “Tom started talking about the later part of Elvis’ career, which is typically dealt with dismissively. He said, ‘Yeah, but when you put all the craziness aside, there is still this incredible singer, surrounded by this incredible band.’

“And he chose, as an example, this piece called ‘American Trilogy,’ a very corny but soulful and beautiful trilogy that Elvis used to do. Tom described exactly what it meant to have Elvis transcend the corniness to do something so stirring and so great. Thom [Zimny] and I had been planning to use ‘American Trilogy’ all along, but Tom spontaneously brought it into the discussion on its own.”

Petty, added Zimny, was one of the final interviews that was done for “The Searcher.” “I’ve had no experience like that interview before,” said the director, whose other work includes editing a dozen episodes of “The Wire” and directing several documentaries about Springsteen.

“Tom seemed completely in sync with the film I was talking about for many years with Jon. The ‘American Trilogy’ sequence was an idea between Jon and I: How can we bring the interpretation of his later touring career to a different place? And Tom just went there.”

Petty is only one of many voices in “The Searcher,” a two-part, four-hour chronicle of Elvis’ life and career that premieres on HBO on Saturday. But one of his comments could serve as a mission statement for the film: “[Elvis] had no road map and he forged a path of what to do and what not to do. And we shouldn’t make the mistake of writing off a great artist because of all the clatter that came later. We should dwell in what he did that was so beautiful and everlasting, which was that great, great music.”

The film began when Priscilla Presley, Elvis’ ex-wife and a key figure in the Elvis estate, approached HBO with the idea of a new documentary using rare footage from the archives. HBO went to Landau, who in his younger days as a rock critic wrote one of the first serious appraisals of the ’70s Elvis as a musical and cultural force.

“My idea was to tell the story from the beginning to the end, good times and bad times,” Landau said. “Elvis’ weaknesses, his bad decisions, the things he had no control over because of the Colonel [his manager, Colonel Tom Parker] — we have to cover all those things, but I don’t want the film to be about those things.

“I ultimately wanted this thing to be about this genius. Because I believe he was a genius from start to finish, even when he was recording the soundtrack to ‘Clambake.'”

Zimny said Landau was an important voice in the making of the film — but so was Priscilla, who provided the film’s title when she commented that Elvis spent his whole life as “a searcher.”

“It almost became a joke when we were in the editing room,” said Landau. “Anytime we got stumped, I would say, ‘Why don’t we add more Priscilla?’ Because everything she said was so empathetic and intelligent.”

Like every other interview subject, though, Priscilla is never seen on camera talking about Elvis. All the interviews in “The Searcher” were audio-only, with none of the talking-head footage that is standard in documentaries like this. And while the four hours contain Elvis footage that we’ve seen before, the filmmakers made a conscious effort to find a new approach.

“The idea was not to repeat images of Elvis that we had seen 1000 times,” said Zimny. “And by not cutting to a talking head sitting in a chair, it gives you freedom. It’s daunting at first because you have Tom Petty or Bruce Springsteen or Robbie Robertson talking, and you have to come up with an image. But I loved the idea of finding outtakes or using Super 8 footage that doesn’t feel like it’s from a clip reel. We wanted to keep away from the VH1 language.

“I felt that we had to trust that the audience has an understanding of Elvis’ story, so let’s focus on the beats between the big moments. He wanted to do a gospel song on the Ed Sullivan show? Let’s concentrate on that, not on how he was shot from the waist up.”

Related stories from TheWrap:

How Elvis Presley's Death Led to the Birth of Modern Entertainment Journalism (Guest Blog)

Elvis Presley Lands Posthumous Grammy Nomination

Elvis Presley: The Lonely Birthday Boy

Cannes Lineup Reaches From Spike Lee to Jean-Luc Godard

The 2018 Cannes Film Festival will include new films from directors Spike Lee, Pawel Pawlikowski, David Robert Mitchell and Jean-Luc Godard, as part of a lineup light on American films and long on international auteurs both young and old.

Lee’s “BlacKKKlansman” and Mitchell’s “Under the Silver Lake” are the only American movies in the 18-film main competition, although Ron Howard’s “Solo: A Star Wars Story” will screen out of competition.

Celebrated international directors in the competition include Pawlikowski, Matteo Garrone, Jia Zhang-Ke and Godard, who is bringing the new “Le Livre d’Image” to the festival more than five decades after he made the 1965 film “Pierrot le Fou,” which graces this year’s Cannes poster (above).

Two of the directors in competition, Iranian Jafar Panahi and Ukrainian Kirill Serebrennikov, are under house arrest in their home countries. Cannes General Delegate Thierry Frémaux said the festival would appeal to those countries to allow the filmmakers to travel to France to present their films.

Also Read: Netflix Bails on Cannes Over Theatrical Release Mandate

Overall, the selection is missing many of the Cannes regulars whose films were rumored to be in the running: Naomi Kawase, Nuri Bilge Ceylan, Mike Leigh, Olivier Assayas, Jacques Audiard and Xavier Dolan, among others. Their films may not have been ready in time, but the selection includes enough first-timers to suggest that the festival was consciously trying to bring fresh blood to the Croisette, and particularly to the main competition.

The selection was announced by Frémaux and festival president Pierre Lescure at a press conference in France on Thursday morning. The films were chosen from what Frémaux said were 1,906 submissions.

The main competition typically contains about 20 films, and Frémaux hinted that additional titles would be added in the coming weeks.

Three of the directors in the main competition are female: Eva Husson, Nadine Labacki and Alice Rohrwacher. Since the festival began in 1946, only about four percent of the directors in the main competition have been women. But since 2000, that percentage has inched up to about nine percent, with a high of four women landing films in the competition (which usually consists of about 20 films) in 2011 and three doing in 2006, 2007, 2009, 2015, 2016 and 2017.

As previously announced, the festival will open with Iranian director Asghar Farhadi’s Spanish-language “Everybody Knows,” starring Javier Bardem and Penelope Cruz, and will include an out-of-competition screening of “Solo: A Star Wars Story” and a 50th-anniversary presentation of Stanley Kubrick’s “2001: A Space Odyssey” hosted by Christopher Nolan.

The festival will not include any movies from Netflix, which opted not to submit any films in the wake of rules banning films from the main competition if they didn’t have a French theatrical release.

Also Read: ‘You Were Never Really Here’ Rides Cannes Praise to Big Indie Box Office Start

Rather than submit films for the festival’s out-of-competition sections, Netflix opted to withdraw all its potential Cannes entries. This affected both possible competition titles like Alfonso Cuaron’s “Roma” and Jeremy Saulnier’s “Hold the Dark” as well as two likely entries in the out-of-competition Cannes Classics section: the newly completed version of Orson Welles’ final, unfinished film, “The Other Side of the Wind,” and Morgan Neville’s documentary about the completion of that film.

The 2018 Cannes Film Festival will begin on Tuesday, May 8 and run through Saturday, May 19. Cate Blanchett will serve as president of the main competition jury, while Benicio del Toro will head the Un Certain Regard jury.

The official selection:

MAIN COMPETITION
“Everybody Knows,” Asghar Farhadi (opening night)
“En Guerre (At War),” Stephane Brize
“Dogman,” Matteo Garrone
“Le Livre d’Image,” Jean-Luc Godard
“Netemo Sametemo (Asako I & II), Ryusuke Hamaguchi
“Plaire Aimer et Courir Vite (Sorry Angel),” Christophe Honore
“Les Filles du Soleil (Girls of the Sun),” Eva Husson
“Ash Is Purest White,” Jia Zhang-Ke
“Shoplifters,” Kore-Eda Hirokazu
“Capharnaum,” Nadine Labaki
“Buh-Ning (Burning),” Lee Chang-Dong
“BlacKKKlansman,” Spike Lee
“Under the Silver Lake,” David Robert Mitchell
“Three Faces,” Jafar Panahi
“Zimna Wojna (Cold War),” Pawel Pawlikowski
“Lazzaro Felice,” Alice Rohrwacher
“Yomeddine,” A.B. Shawky
“Leto,” Kirill Serebrennikov

OUT OF COMPETITION
“Solo: A Star Wars Story,” Ron Howard
“Le Grand Bain,” Gilles Lelouche

MIDNIGHT SCREENINGS
“Ten Years in Thailand,” Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol and Apichatpong Weerasthakul
“The State Against Mandela and the Others,” Nicolas Champeaux & Gilles Porte
“A Touts Vents (To the Four Winds),” Michel Toesca
“La Traversee,” Romain Goupil
“O Grande Circ Mistico,” Carlo Diegues
“Pope Francis – A Man of His Word,” Wim Wenders
“Les Ames Mortes (Dead Souls),” Wang Bing
“Arctic,” Joe Penna
“Gongjak (The Spy Gone North),” Yoon Jong-Bing

UN CERTAIN REGARD
“Long Day’s Journey Into Night,” Bi Gan
“Les Chatouilles (Little Tickles),” Andrea Bescond & Eric Metayer
“Sofia,” Meyem Benm’Barek
“Grans (Border),” Ali Abbasi
“Guele d’Ange (Angel Face),” Vanessa Filho
“Girl,” Lukas Dhont
“A Genoux les Gars (Sextape),” Antoine Desrosieres
“Manto,” Nandita Das
“Mon Tissu Prefere (My Favorite Fabric),” Gaya Jiji
“Euphoria,” Valeria Golino
“Rafiki (Friend),” Wanuri Kahiu
“Die Stropers (The Harvesters),” Etienne Kallos
“In My Room,” Ulrich Kohler
“El Angel,” Luis Ortega
“The Gentle Indifference of the World,” Adilkhan Yerzhanov

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The 2018 Cannes Film Festival will include new films from directors Spike Lee, Pawel Pawlikowski, David Robert Mitchell and Jean-Luc Godard, as part of a lineup light on American films and long on international auteurs both young and old.

Lee’s “BlacKKKlansman” and Mitchell’s “Under the Silver Lake” are the only American movies in the 18-film main competition, although Ron Howard’s “Solo: A Star Wars Story” will screen out of competition.

Celebrated international directors in the competition include Pawlikowski, Matteo Garrone, Jia Zhang-Ke and Godard, who is bringing the new “Le Livre d’Image” to the festival more than five decades after he made the 1965 film “Pierrot le Fou,” which graces this year’s Cannes poster (above).

Two of the directors in competition, Iranian Jafar Panahi and Ukrainian Kirill Serebrennikov, are under house arrest in their home countries. Cannes General Delegate Thierry Frémaux said the festival would appeal to those countries to allow the filmmakers to travel to France to present their films.

Overall, the selection is missing many of the Cannes regulars whose films were rumored to be in the running: Naomi Kawase, Nuri Bilge Ceylan, Mike Leigh, Olivier Assayas, Jacques Audiard and Xavier Dolan, among others. Their films may not have been ready in time, but the selection includes enough first-timers to suggest that the festival was consciously trying to bring fresh blood to the Croisette, and particularly to the main competition.

The selection was announced by Frémaux and festival president Pierre Lescure at a press conference in France on Thursday morning. The films were chosen from what Frémaux said were 1,906 submissions.

The main competition typically contains about 20 films, and Frémaux hinted that additional titles would be added in the coming weeks.

Three of the directors in the main competition are female: Eva Husson, Nadine Labacki and Alice Rohrwacher. Since the festival began in 1946, only about four percent of the directors in the main competition have been women. But since 2000, that percentage has inched up to about nine percent, with a high of four women landing films in the competition (which usually consists of about 20 films) in 2011 and three doing in 2006, 2007, 2009, 2015, 2016 and 2017.

As previously announced, the festival will open with Iranian director Asghar Farhadi’s Spanish-language “Everybody Knows,” starring Javier Bardem and Penelope Cruz, and will include an out-of-competition screening of “Solo: A Star Wars Story” and a 50th-anniversary presentation of Stanley Kubrick’s “2001: A Space Odyssey” hosted by Christopher Nolan.

The festival will not include any movies from Netflix, which opted not to submit any films in the wake of rules banning films from the main competition if they didn’t have a French theatrical release.

Rather than submit films for the festival’s out-of-competition sections, Netflix opted to withdraw all its potential Cannes entries. This affected both possible competition titles like Alfonso Cuaron’s “Roma” and Jeremy Saulnier’s “Hold the Dark” as well as two likely entries in the out-of-competition Cannes Classics section: the newly completed version of Orson Welles’ final, unfinished film, “The Other Side of the Wind,” and Morgan Neville’s documentary about the completion of that film.

The 2018 Cannes Film Festival will begin on Tuesday, May 8 and run through Saturday, May 19. Cate Blanchett will serve as president of the main competition jury, while Benicio del Toro will head the Un Certain Regard jury.

The official selection:

MAIN COMPETITION
“Everybody Knows,” Asghar Farhadi (opening night)
“En Guerre (At War),” Stephane Brize
“Dogman,” Matteo Garrone
“Le Livre d’Image,” Jean-Luc Godard
“Netemo Sametemo (Asako I & II), Ryusuke Hamaguchi
“Plaire Aimer et Courir Vite (Sorry Angel),” Christophe Honore
“Les Filles du Soleil (Girls of the Sun),” Eva Husson
“Ash Is Purest White,” Jia Zhang-Ke
“Shoplifters,” Kore-Eda Hirokazu
“Capharnaum,” Nadine Labaki
“Buh-Ning (Burning),” Lee Chang-Dong
“BlacKKKlansman,” Spike Lee
“Under the Silver Lake,” David Robert Mitchell
“Three Faces,” Jafar Panahi
“Zimna Wojna (Cold War),” Pawel Pawlikowski
“Lazzaro Felice,” Alice Rohrwacher
“Yomeddine,” A.B. Shawky
“Leto,” Kirill Serebrennikov

OUT OF COMPETITION
“Solo: A Star Wars Story,” Ron Howard
“Le Grand Bain,” Gilles Lelouche

MIDNIGHT SCREENINGS
“Ten Years in Thailand,” Aditya Assarat, Wisit Sasanatieng, Chulayarnon Sriphol and Apichatpong Weerasthakul
“The State Against Mandela and the Others,” Nicolas Champeaux & Gilles Porte
“A Touts Vents (To the Four Winds),” Michel Toesca
“La Traversee,” Romain Goupil
“O Grande Circ Mistico,” Carlo Diegues
“Pope Francis – A Man of His Word,” Wim Wenders
“Les Ames Mortes (Dead Souls),” Wang Bing
“Arctic,” Joe Penna
“Gongjak (The Spy Gone North),” Yoon Jong-Bing

UN CERTAIN REGARD
“Long Day’s Journey Into Night,” Bi Gan
“Les Chatouilles (Little Tickles),” Andrea Bescond & Eric Metayer
“Sofia,” Meyem Benm’Barek
“Grans (Border),” Ali Abbasi
“Guele d’Ange (Angel Face),” Vanessa Filho
“Girl,” Lukas Dhont
“A Genoux les Gars (Sextape),” Antoine Desrosieres
“Manto,” Nandita Das
“Mon Tissu Prefere (My Favorite Fabric),” Gaya Jiji
“Euphoria,” Valeria Golino
“Rafiki (Friend),” Wanuri Kahiu
“Die Stropers (The Harvesters),” Etienne Kallos
“In My Room,” Ulrich Kohler
“El Angel,” Luis Ortega
“The Gentle Indifference of the World,” Adilkhan Yerzhanov

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‘Borg/McEnroe’ Film Review: Shia LaBeouf Tennis Movie Mixes Backhands With Psychoanalysis

If nothing else, “Borg/McEnroe” makes its ambitions clear from the start. The film from director Janus Metz opens with a title-card quote from Andre Agassi (who otherwise has nothing to do with this particular tennis story) that concludes, “Every match is a life in miniature.”

Make that two lives in miniature, because “Borg/McEnroe” sets out to encapsulate the troubled journeys of tennis stars Bjorn Borg and John McEnroe within one epic match. That came in the 1980 Wimbledon final, when the emotionless Swede was going for a record fifth consecutive Wimbledon title and the brash American was trying to climb to No. 1.

The film does a respectable job of it, tying on-court demeanor to past traumas and building to a suitably dramatic ending. After a while, though, you start to feel sorry for poor tennis, forced to bear the burden of all that metaphor.

Also Read: ‘Beirut’ Film Review: Jon Hamm Mired in Muddled Middle-East Tale

The prospect of celebrated hothead John McEnroe portrayed by celebrated hothead Shia LaBeouf is no doubt responsible for a lot of the attention that “Borg/McEnroe” garnered before its premiere as the opening-night attraction at the 2017 Toronto International Film Festival. But the argumentative New Yorker takes definite back seat in the film to his Nordic rival.

The film starts with Sverrir Gudnason’s Borg, on top of the world after his four consecutive Wimbledon titles but clearly troubled and lonely in his high-rise Monaco retreat. He’s besieged by fans, conflicted by fame and scared that if he doesn’t win again he’ll be remembered as a one-time loser, not a four-time winner.

Also Read: Shia LaBeouf Apologizes After Racist Arrest Video Released: ‘I Am Deeply Ashamed’

McEnroe comes in later, a pugnacious competitor vilified in the New York Times as “the worst representative for American values since Al Capone” and obsessed with overtaking the man he says “isn’t human” after watching a Borg press conference.

It’s the emotionless Swede vs. the guy who’s all emotion – but one of the points of “Borg/McEnroe” is that this shorthand just isn’t true, that Borg was as fiery as McEnroe but had made a conscious decision to stifle his emotion in public.

The movie makes that point partly through copious flashbacks and partly through effectively nuanced performances by Sverrir Gudnason and LaBeouf (though the latter brings his own persona with him, which hampers our ability to see him as McEnroe). But it also overplays its hand by being a little too obvious with the armchair psychoanalysis.

And in the home stretch, when we get close to the Wimbledon final, Metz revs up a game of “who can be more tortured and carry more baggage onto Centre Court?” In this corner, McEnroe explodes at the press; over there, Borg writhes on the shower floor from the pressure.

Also Read: ‘Truth or Dare’ Film Review: Blumhouse College Horror Doesn’t Make the Grade

And then McEnroe says, “Everything I’ve ever done has led up to this match,” and we’re in for five epic sets. McEnroe glowers and smashes. Borg sweats and lunges. McEnroe glowers some more. (LaBeouf, it must be said, is an accomplished glowerer.)

The backhands and ground strokes get bigger, the music gets more pretentious, an international cadre of reporters spells things out for us (“And now it’s all about heart!”) and well, it’s just a bit much.

Borg, for the record, attended a Swedish screening and said the film was “OK.” McEnroe reportedly disagreed and said, “I don’t think it is a good movie.”

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If nothing else, “Borg/McEnroe” makes its ambitions clear from the start. The film from director Janus Metz opens with a title-card quote from Andre Agassi (who otherwise has nothing to do with this particular tennis story) that concludes, “Every match is a life in miniature.”

Make that two lives in miniature, because “Borg/McEnroe” sets out to encapsulate the troubled journeys of tennis stars Bjorn Borg and John McEnroe within one epic match. That came in the 1980 Wimbledon final, when the emotionless Swede was going for a record fifth consecutive Wimbledon title and the brash American was trying to climb to No. 1.

The film does a respectable job of it, tying on-court demeanor to past traumas and building to a suitably dramatic ending. After a while, though, you start to feel sorry for poor tennis, forced to bear the burden of all that metaphor.

The prospect of celebrated hothead John McEnroe portrayed by celebrated hothead Shia LaBeouf is no doubt responsible for a lot of the attention that “Borg/McEnroe” garnered before its premiere as the opening-night attraction at the 2017 Toronto International Film Festival. But the argumentative New Yorker takes definite back seat in the film to his Nordic rival.

The film starts with Sverrir Gudnason’s Borg, on top of the world after his four consecutive Wimbledon titles but clearly troubled and lonely in his high-rise Monaco retreat. He’s besieged by fans, conflicted by fame and scared that if he doesn’t win again he’ll be remembered as a one-time loser, not a four-time winner.

McEnroe comes in later, a pugnacious competitor vilified in the New York Times as “the worst representative for American values since Al Capone” and obsessed with overtaking the man he says “isn’t human” after watching a Borg press conference.

It’s the emotionless Swede vs. the guy who’s all emotion – but one of the points of “Borg/McEnroe” is that this shorthand just isn’t true, that Borg was as fiery as McEnroe but had made a conscious decision to stifle his emotion in public.

The movie makes that point partly through copious flashbacks and partly through effectively nuanced performances by Sverrir Gudnason and LaBeouf (though the latter brings his own persona with him, which hampers our ability to see him as McEnroe). But it also overplays its hand by being a little too obvious with the armchair psychoanalysis.

And in the home stretch, when we get close to the Wimbledon final, Metz revs up a game of “who can be more tortured and carry more baggage onto Centre Court?” In this corner, McEnroe explodes at the press; over there, Borg writhes on the shower floor from the pressure.

And then McEnroe says, “Everything I’ve ever done has led up to this match,” and we’re in for five epic sets. McEnroe glowers and smashes. Borg sweats and lunges. McEnroe glowers some more. (LaBeouf, it must be said, is an accomplished glowerer.)

The backhands and ground strokes get bigger, the music gets more pretentious, an international cadre of reporters spells things out for us (“And now it’s all about heart!”) and well, it’s just a bit much.

Borg, for the record, attended a Swedish screening and said the film was “OK.” McEnroe reportedly disagreed and said, “I don’t think it is a good movie.”

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‘American Idol’ Stage Manager Defends Ryan Seacrest, Calls ‘BS’ on Accusations

When Ryan Seacrest was accused of sexual abuse by a wardrobe stylist who worked with him at E! News, longtime “American Idol” stage manager Debbie Williams had an immediate reaction: “I call BS on this whole thing.”

Williams worked closely with Seacrest for 15 years as the lead stage manager on “Idol.” She reached out to TheWrap after reading Suzie Hardy’s accusations that Seacrest pursued her, repeatedly embraced her while clad only in his underwear, and grabbed her crotch on more than one occasion. She said the sexual misconduct took place between 2007 and 2013.

On Sunday, some stars on the Oscars red carpet shunned E! News and Seacrest, who denies the accusations.

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“I’ve been in this town since 1976,” Williams told TheWrap. “Worked in a lot of different capacities, been stage-managing for 34 years. I’ve worked with everybody. And never, never in all my 15 years with him, if you told me this story, would I believe you.”

Williams now lives outside of California and opted not to work on the “American Idol” reboot, which Seacrest will host when it launches on March 11. She first encountered Seacrest in 2002, when she was hired as the lead stage manager on “Idol” after decades of working on live shows, including multiple Academy Awards shows.

“I met him when he was 26 years old and we started ‘Idol,’” she said. “I had never seen a more driven, professional kid that age in my life. I was like, ‘Who is this guy?’ We didn’t know what the show was going to be at that time — we had no idea. But he had a work ethic like nobody I’d seen in a while. When he came to work, he worked. Whether he was in his dressing room, whether he was onstage, this kid was focused and he was working.

“And he was so focused in the beginning, I almost thought he was a eunuch. I thought, ‘This kid doesn’t care anything about anything but his career.’”

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Hardy alleges that Seacrest brought her to the “American Idol” set to dress him “on multiple occasions,” which Williams said she never witnessed. “We had a stylist, Miles [Siggins],” she said, adding that she didn’t recall ever seeing Hardy.

Seacrest’s devotion to work, she said, extended to his dressing room, where she never saw him alone with a stylist or anybody else. “I was in his dressing room constantly,” she said. “I thought about it, and there was never a time when there weren’t several people in there. He was always doing five things at once. He wasn’t just getting his makeup on or putting his clothes on — he was making a deal, talking to somebody on the phone.”

“Even when he was getting ready, he went into the other room and changed into his suit, but he was still talking to somebody out here or on the phone with somebody.”

Also Read: Ryan Seacrest Didn’t Ask a Single #MeToo or #TIMESUP Question on Oscars Red Carpet

And Seacrest, she added, was not flirtatious with anyone around him. “Never,” she said firmly. “In fact, there was a moment in the beginning of ‘Idol’ when there might have been someone in his dressing room, doing his makeup or something, who was a little flirtatious with him. He did not like it. He felt uncomfortable with it.” The flirtatious employee, she said, was replaced.

Over the years, Williams said she recognized that Seacrest was not a eunuch, but a man with a distinct preference for young, very skinny women. “Ryan has a certain type,” she said. “He’s had girlfriends over the years, and I’ve always seen them when they’ve come to the show and everything. And [Hardy] doesn’t meet that type, I hate to say that. She doesn’t meet the type.”

If there had been anything untoward in Seacrest’s actions toward women in the 15 years that she worked closely with him, Williams said, she would have known it. “God knows I’ve worked with people who are less than lovely,” she said. “I have been sexually harassed, and I’ve worked with people who I later see things in magazines and go, ‘Oh yeah, I knew that.’

“But that was never Ryan, ever. If I thought for a second, Ooh, I’ve seen things, I would call him out. But nothing. Ever. Nothing. The crew was all talking at the Oscars, and everybody — audio people, camera guys, everybody — went, ‘We have never thought this guy was anything but a class act.”

She said the accusations disturbed her because she’s an avid supporter of the #MeToo and #TimesUp movements. “I love this movement, I love that people are coming out,” she said. “I love that some people are saying things and other people are losing their power, because that’s legit. But in a case like this, there’s nothing legit about it.

“I’m not the guru of this. I’m just dealing with a human being that I know has integrity. I am a big advocate for women’s rights, but on this one I’m calling foul.”

Seacrest announced last November that E! was investigating an accusation of misconduct against him by “someone that worked … for me nearly a decade ago at E! News.” Seacrest was investigated and cleared by NBCUniversal, which stands by the anchor.

When Variety reported on the details of Hardy’s accusations on Feb. 27, Seacrest vehemently denied them, and his attorney said Hardy requested $15 million for her silence.

Hardy responded that she “was emboldened by the bravery of others to finally and confidentially tell my story to NBC. Ryan elected to take the story public with a false narrative that he was exonerated and the victim of some sort of money grab.”

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Ryan Seacrest’s ‘American Idol’ Gig Still On, ABC Satisfied With E! Sexual Misconduct Investigation

When Ryan Seacrest was accused of sexual abuse by a wardrobe stylist who worked with him at E! News, longtime “American Idol” stage manager Debbie Williams had an immediate reaction: “I call BS on this whole thing.”

Williams worked closely with Seacrest for 15 years as the lead stage manager on “Idol.” She reached out to TheWrap after reading Suzie Hardy’s accusations that Seacrest pursued her, repeatedly embraced her while clad only in his underwear, and grabbed her crotch on more than one occasion. She said the sexual misconduct took place between 2007 and 2013.

On Sunday, some stars on the Oscars red carpet shunned E! News and Seacrest, who denies the accusations.

“I’ve been in this town since 1976,” Williams told TheWrap. “Worked in a lot of different capacities, been stage-managing for 34 years. I’ve worked with everybody. And never, never in all my 15 years with him, if you told me this story, would I believe you.”

Williams now lives outside of California and opted not to work on the “American Idol” reboot, which Seacrest will host when it launches on March 11. She first encountered Seacrest in 2002, when she was hired as the lead stage manager on “Idol” after decades of working on live shows, including multiple Academy Awards shows.

“I met him when he was 26 years old and we started ‘Idol,'” she said. “I had never seen a more driven, professional kid that age in my life. I was like, ‘Who is this guy?’ We didn’t know what the show was going to be at that time — we had no idea. But he had a work ethic like nobody I’d seen in a while. When he came to work, he worked. Whether he was in his dressing room, whether he was onstage, this kid was focused and he was working.

“And he was so focused in the beginning, I almost thought he was a eunuch. I thought, ‘This kid doesn’t care anything about anything but his career.'”

Hardy alleges that Seacrest brought her to the “American Idol” set to dress him “on multiple occasions,” which Williams said she never witnessed. “We had a stylist, Miles [Siggins],” she said, adding that she didn’t recall ever seeing Hardy.

Seacrest’s devotion to work, she said, extended to his dressing room, where she never saw him alone with a stylist or anybody else. “I was in his dressing room constantly,” she said. “I thought about it, and there was never a time when there weren’t several people in there. He was always doing five things at once. He wasn’t just getting his makeup on or putting his clothes on — he was making a deal, talking to somebody on the phone.”

“Even when he was getting ready, he went into the other room and changed into his suit, but he was still talking to somebody out here or on the phone with somebody.”

And Seacrest, she added, was not flirtatious with anyone around him. “Never,” she said firmly. “In fact, there was a moment in the beginning of ‘Idol’ when there might have been someone in his dressing room, doing his makeup or something, who was a little flirtatious with him. He did not like it. He felt uncomfortable with it.” The flirtatious employee, she said, was replaced.

Over the years, Williams said she recognized that Seacrest was not a eunuch, but a man with a distinct preference for young, very skinny women. “Ryan has a certain type,” she said. “He’s had girlfriends over the years, and I’ve always seen them when they’ve come to the show and everything. And [Hardy] doesn’t meet that type, I hate to say that. She doesn’t meet the type.”

If there had been anything untoward in Seacrest’s actions toward women in the 15 years that she worked closely with him, Williams said, she would have known it. “God knows I’ve worked with people who are less than lovely,” she said. “I have been sexually harassed, and I’ve worked with people who I later see things in magazines and go, ‘Oh yeah, I knew that.’

“But that was never Ryan, ever. If I thought for a second, Ooh, I’ve seen things, I would call him out. But nothing. Ever. Nothing. The crew was all talking at the Oscars, and everybody — audio people, camera guys, everybody — went, ‘We have never thought this guy was anything but a class act.”

She said the accusations disturbed her because she’s an avid supporter of the #MeToo and #TimesUp movements. “I love this movement, I love that people are coming out,” she said. “I love that some people are saying things and other people are losing their power, because that’s legit. But in a case like this, there’s nothing legit about it.

“I’m not the guru of this. I’m just dealing with a human being that I know has integrity. I am a big advocate for women’s rights, but on this one I’m calling foul.”

Seacrest announced last November that E! was investigating an accusation of misconduct against him by “someone that worked … for me nearly a decade ago at E! News.” Seacrest was investigated and cleared by NBCUniversal, which stands by the anchor.

When Variety reported on the details of Hardy’s accusations on Feb. 27, Seacrest vehemently denied them, and his attorney said Hardy requested $15 million for her silence.

Hardy responded that she “was emboldened by the bravery of others to finally and confidentially tell my story to NBC. Ryan elected to take the story public with a false narrative that he was exonerated and the victim of some sort of money grab.”

Related stories from TheWrap:

Oscars: Ryan Seacrest Avoids Mentioning Kevin Spacey, #TIMESUP in Christopher Plummer Interview (Video)

Jennifer Lawrence Hedges on Talking to Ryan Seacrest at the Oscars: 'I Can't Imagine Him Being Sexual'

Ryan Seacrest's 'American Idol' Gig Still On, ABC Satisfied With E! Sexual Misconduct Investigation