Javier Bardem, Elle Fanning, Salma Hayek to Star in Sally Potter Drama

Production has begun in Spain on Sally Potter’s untitled family drama, starring Javier Bardem, Elle Fanning, Salma Hayek, Chris Rock, and Laura Linney. The story is described as a chronicle of a wild day in the life of a man on the edge, held tog…

Production has begun in Spain on Sally Potter’s untitled family drama, starring Javier Bardem, Elle Fanning, Salma Hayek, Chris Rock, and Laura Linney. The story is described as a chronicle of a wild day in the life of a man on the edge, held together by the unconditional love of his daughter with Bardem and […]

Javier Bardem, Elle Fanning, Salma Hayek, Chris Rock & Laura Linney Set For Sally Potter Pic; HanWay & Bleecker Street Aboard

Javier Bardem, Elle Fanning, Salma Hayek, Chris Rock and Laura Linney lead an impressive cast for The Party and Orlando writer-director Sally Potter’s latest film. Production is underway in Spain on the untitled feature, which is being repped wor…

Javier BardemElle Fanning, Salma Hayek, Chris Rock and Laura Linney lead an impressive cast for The Party and Orlando writer-director Sally Potter’s latest film. Production is underway in Spain on the untitled feature, which is being repped worldwide by HanWay and Bleecker Street. The pic will chart a wild day in the life of a man on the edge, held together by the unconditional love of his daughter. It will also shoot on location in New York in January. HanWay Films…

Penélope Cruz and Javier Bardem Are Under Pressure in Tense ‘Everybody Knows’ English Trailer (Video)

Penélope Cruz and Javier Bardem have told TheWrap how they were in “terrifying pain” while shooting their latest film, “Everybody Knows.” And in this first English language trailer for the film, that intensity shows.

Asghar Farhadi’s “Everybody Knows” is in Spanish, but Bardem narrates the opening to this first trailer in English, which is followed by an otherwise dialogue-free but none the less gripping first look.

“Sometimes the past, doesn’t always stay in the past,” Bardem says over an image of Cruz creeping into a dark attic before shrieking in agony.

Also Read: Penelope Cruz on ‘Everybody Knows’ Director: ‘He’s Demanding in a Very Good Way’ (Video)

The film is about a woman who returns to her hometown near Madrid, Spain, for her sister’s wedding, but endures a state of panic when the sibling goes missing. Ricardo Darin also co-stars.

“Everybody Knows” is the Iranian director Farhadi’s foll0w-up to “The Salesman,” and before that “A Separation,” both of which won the Oscar for Best Foreign Language film. After playing on the opening night of Cannes, which our critic referred to as one of the strongest opening night films in many years of the festival, “Everybody Knows” was picked up by Focus Features, who will open it for a brief, Oscar qualifying run beginning Nov. 30.

The film will open wide starting on Feb. 8, 2019. Watch the first trailer above:

Related stories from TheWrap:

Penelope Cruz, Gael Garcia Bernal Among Additions to Spy Drama ‘Wasp Network’

See Penelope Cruz, Edgar Ramirez, Ricky Martin in ‘Versace: American Crime Story’ Pics (Photos)

‘Roma,’ ‘Cold War’ Lead Academy’s List of 87 Films in the Oscars Foreign Language Race

Penélope Cruz and Javier Bardem have told TheWrap how they were in “terrifying pain” while shooting their latest film, “Everybody Knows.” And in this first English language trailer for the film, that intensity shows.

Asghar Farhadi’s “Everybody Knows” is in Spanish, but Bardem narrates the opening to this first trailer in English, which is followed by an otherwise dialogue-free but none the less gripping first look.

“Sometimes the past, doesn’t always stay in the past,” Bardem says over an image of Cruz creeping into a dark attic before shrieking in agony.

The film is about a woman who returns to her hometown near Madrid, Spain, for her sister’s wedding, but endures a state of panic when the sibling goes missing. Ricardo Darin also co-stars.

“Everybody Knows” is the Iranian director Farhadi’s foll0w-up to “The Salesman,” and before that “A Separation,” both of which won the Oscar for Best Foreign Language film. After playing on the opening night of Cannes, which our critic referred to as one of the strongest opening night films in many years of the festival, “Everybody Knows” was picked up by Focus Features, who will open it for a brief, Oscar qualifying run beginning Nov. 30.

The film will open wide starting on Feb. 8, 2019. Watch the first trailer above:

Related stories from TheWrap:

Penelope Cruz, Gael Garcia Bernal Among Additions to Spy Drama 'Wasp Network'

See Penelope Cruz, Edgar Ramirez, Ricky Martin in 'Versace: American Crime Story' Pics (Photos)

'Roma,' 'Cold War' Lead Academy's List of 87 Films in the Oscars Foreign Language Race

‘Everybody Knows’ Trailer: Penélope Cruz and Javier Bardem Team Up to Fall Apart

Focus Features will release Asghar Farhadi’s Cannes entry in theaters in February 2019.

Asghar Farhadi puts Penélope Cruz and Javier Bardem through an emotional crisis in the upcoming “Everybody Knows.” The drama opened the Cannes Film Festival this year and will hit theaters in 2019, courtesy of Focus Features. While Farhadi has often competed for the Oscar as Iran’s official submission (he most recently won with “The Salesman” in 2017),  “Everybody Knows” is a Spanish-language film and was thus passed over this year in favor of Vahid Jalilvand’s “No Date – No Signature.”

The official synopsis from Focus Features reads: “The film follows Laura (Cruz) on her travels from Argentina to her small home town in Spain for her sister’s wedding, bringing her two children along for the occasion. Amid the joyful reunion and festivities, the eldest daughter is abducted. In the tense days that follow, various family and community tensions surface and deeply hidden secrets are revealed.”

IndieWire’s Eric Kohn called “Everybody Knows” a “riveting psychological drama” in his B+ review out of Cannes. “Once again, Farhadi has delivered a provocative meditation on the dynamics of communication,” he wrote. “As with all the exceptional dramas he’s produced over the past decade — ‘A Separation,’ ‘The Past,’ and ‘The Salesman’ — Farhadi’s first Spanish-language feature explores fissures of family bonds as they threaten to fall apart.”

Following its premiere at Cannes, “Everybody Knows” went on to screen at the Toronto International Film Festival in September. The movie opened in Spain shortly after TIFF.

Focus is planning a brief theatrical run starting November 30 to allow the film to qualify for the 2019 Oscars. The distributor will then launch a traditional release for “Everybody Knows” starting February 8, 2019, during which it will open in select theaters.

“Everybody Knows” co-stars Ricardo Darín, Bárbara Lennie, and Inma Cuesta. Watch the official trailer below.

Salaries of TV’s Top Stars Revealed, From Reese Witherspoon to Dwayne Johnson

The state of California barred employers this year from asking prospective workers how much money they made in previous jobs. The new law was designed to redress wage disparity; women and minorities are often paid less than white men at early career st…

The state of California barred employers this year from asking prospective workers how much money they made in previous jobs. The new law was designed to redress wage disparity; women and minorities are often paid less than white men at early career stages, and that pay gap tends to stick with workers through the years. […]

Javier Bardem Blasts ‘Public Lynching’ of ‘Genius’ Woody Allen

Javier Bardem has once again spoken out about the “public lynching” of Woody Allen in regards to the longstanding accusations of sexual misconduct against the filmmaker.

“At the time I did ‘Vicky Cristina Barcelona’, the allegations were already well known for more than 10 years, and two states in the U.S. deemed he was not guilty,” Bardem said at the Lumiere Festival in Lyon on Tuesday, according to The Hollywood Reporter. “If the legal situation ever changes, then I’d change my mind. But for now, I don’t agree with the public lynching that he’s been receiving, and if Woody Allen called me to work with him again I’d be there tomorrow morning. He’s a genius.”

In April, the Spanish actor said he was “shocked” by the treatment of Allen, and said that he was “absolutely not” ashamed to have worked with him on the 2008 film “Vicky Cristina Barcelona.”

Also Read: Javier Bardem ‘Shocked’ Over Woody Allen Treatment

“If there was evidence that Woody Allen was guilty, then yes, I would have stopped working with him, but I have doubts,” Bardem said at the time. “I am very shocked by this sudden treatment. Judgments in the states of New York and Connecticut found him innocent. The legal situation today is the same as in 2007.”

Several stars of Allen’s films have publicly said that they would not work with the director again in the wake of resurfaced accusations of sexual assault by his adoptive daughter, Dylan Farrow, and her mother, Mia Farrow. Among those are “Wonder Wheel” actor David Krumholtz, who said he “deeply” regrets working with the filmmaker on his most recent film, calling it one of his “most heartbreaking mistakes.”

Greta Gerwig also said she will never work for Allen again and wouldn’t have starred in his 2012 movie “To Rome With Love” had she known about the accusations against him. Peter Sarsgaard, who starred in Allen’s 2013 film “Blue Jasmine,” said he would turn down another chance to work with the director.

Also Read: Penélope Cruz, Javier Bardem Film ‘Everybody Knows’ to Open in Time for Oscars

Allen has denied Dylan Farrow’s sexual accusations, which he was investigated in 1992 but never charged, calling it an invention of Farrow’s mother, actress Mia Farrow. The accusations were brought back to the public’s attention when Farrow detailed her experience in an open letter in the New York Times in 2014.

In December, Farrow published an op-ed in the Los Angeles Times, in which she called out Kate Winslet, Blake Lively and Gerwig for working with Allen amidst the accusations.

Related stories from TheWrap:

Mia Farrow on Her Time With Woody Allen: ‘It’s Not All Black or White’

Woody Allen Thinks Ronan Farrow Is His Son – ‘But I Wouldn’t Bet My Life on It’

Why Woody Allen Wasn’t Charged: a Timeline of Dylan Farrow’s Accusations

Javier Bardem has once again spoken out about the “public lynching” of Woody Allen in regards to the longstanding accusations of sexual misconduct against the filmmaker.

“At the time I did ‘Vicky Cristina Barcelona’, the allegations were already well known for more than 10 years, and two states in the U.S. deemed he was not guilty,” Bardem said at the Lumiere Festival in Lyon on Tuesday, according to The Hollywood Reporter. “If the legal situation ever changes, then I’d change my mind. But for now, I don’t agree with the public lynching that he’s been receiving, and if Woody Allen called me to work with him again I’d be there tomorrow morning. He’s a genius.”

In April, the Spanish actor said he was “shocked” by the treatment of Allen, and said that he was “absolutely not” ashamed to have worked with him on the 2008 film “Vicky Cristina Barcelona.”

“If there was evidence that Woody Allen was guilty, then yes, I would have stopped working with him, but I have doubts,” Bardem said at the time. “I am very shocked by this sudden treatment. Judgments in the states of New York and Connecticut found him innocent. The legal situation today is the same as in 2007.”

Several stars of Allen’s films have publicly said that they would not work with the director again in the wake of resurfaced accusations of sexual assault by his adoptive daughter, Dylan Farrow, and her mother, Mia Farrow. Among those are “Wonder Wheel” actor David Krumholtz, who said he “deeply” regrets working with the filmmaker on his most recent film, calling it one of his “most heartbreaking mistakes.”

Greta Gerwig also said she will never work for Allen again and wouldn’t have starred in his 2012 movie “To Rome With Love” had she known about the accusations against him. Peter Sarsgaard, who starred in Allen’s 2013 film “Blue Jasmine,” said he would turn down another chance to work with the director.

Allen has denied Dylan Farrow’s sexual accusations, which he was investigated in 1992 but never charged, calling it an invention of Farrow’s mother, actress Mia Farrow. The accusations were brought back to the public’s attention when Farrow detailed her experience in an open letter in the New York Times in 2014.

In December, Farrow published an op-ed in the Los Angeles Times, in which she called out Kate Winslet, Blake Lively and Gerwig for working with Allen amidst the accusations.

Related stories from TheWrap:

Mia Farrow on Her Time With Woody Allen: 'It's Not All Black or White'

Woody Allen Thinks Ronan Farrow Is His Son – 'But I Wouldn't Bet My Life on It'

Why Woody Allen Wasn't Charged: a Timeline of Dylan Farrow's Accusations

Lumière Festival: Javier Bardem on Woody Allen: ‘I’d Work with Him Tomorrow’

LYON, France – Javier Bardem charmed his audience at a masterclass during the Lumière Film Festival on Monday, eliciting laughter with stories of his youth, learning English by way of AC/DC, his famous family and expounding on the talent, compassion an…

LYON, France – Javier Bardem charmed his audience at a masterclass during the Lumière Film Festival on Monday, eliciting laughter with stories of his youth, learning English by way of AC/DC, his famous family and expounding on the talent, compassion and genius of the filmmakers with whom he has worked, among them Bigas Luna, Julian […]

San Diego International Film Festival Offers Diverse Slate of Features, Shorts and Documentaries

Now in its 17th year, the San Diego Intl. Film Festival, produced by the San Diego Film Foundation, has established itself as a premier showcase for outstanding U.S. and international independent filmmaking, and will once again celebrate the year’s bes…

Now in its 17th year, the San Diego Intl. Film Festival, produced by the San Diego Film Foundation, has established itself as a premier showcase for outstanding U.S. and international independent filmmaking, and will once again celebrate the year’s best cinema from emerging and established filmmakers from around the world. SDIFF received more than 2,300 […]

‘Everybody Knows’: Penélope Cruz-Javier Bardem Thriller From Asghar Farhadi Set For February

Focus Features has set a February 8 limited release for Everybody Knows (Todos lo Saben), Asghar Farhadi’s psychological thriller starring Penélope Cruz, Javier Bardem and Ricardo Darín that opened the Cannes Film Festival in May.
Written and dir…

Focus Features has set a February 8 limited release for Everybody Knows (Todos lo Saben), Asghar Farhadi’s psychological thriller starring Penélope Cruz, Javier Bardem and Ricardo Darín that opened the Cannes Film Festival in May. Written and directed by Farhadi (The Salesman, A Separation), the Spanish-language film first will get a brief Oscar-qualifying run starting November 30. It follows Laura (Cruz) on her travels with her two kids from Argentina to her small…

All 5 ‘Pirates of the Caribbean’ Movies Ranked, Worst to Best (Photos)

The “Pirates of the Caribbean” movies may be coming at a slow pace these days, but they still are coming. How does the Javier Bardem-starring fifth flick stack up among the other entries in the mixed-bag franchise?
5. “Pirates of the …

The “Pirates of the Caribbean” movies may be coming at a slow pace these days, but they still are coming. How does the Javier Bardem-starring fifth flick stack up among the other entries in the mixed-bag franchise?

5. “Pirates of the Caribbean: On Stranger Tides”

At some point, “from the Academy Award-winning director of ‘Chicago'” meant something. But Rob Marshall was woefully ill-suited to make a “Pirates of the Caribbean” movie, and that, combined with whoever’s terrible idea it was to have Jack Sparrow as the sole lead, spelled doom for this horrifically awful experience.

4. “Pirates of the Caribbean: Dead Men Tell No Tales”

Pretty much just an attempt to rehash the original movie, though it’s less satisfying in every way. Not horrible, and it does have the decency to be the shortest of the five movies. But its incoherence undoes most of the goodwill granted by the occasional clever dialogue.

3. “Pirates of the Caribbean: Dead Man’s Chest”

Lots of folks may have been mad about the cliffhanger at the time, but the second “Pirates” movie was still a delight. Even though it wasn’t quite as good as the first — we really missed Geoffrey Rush’s Captain Barbossa — “Dead Man’s Chest” remains a great example of a sequel that recaptures the magic of the original.

2. “Pirates of the Caribbean: At World’s End”

Get’s the edge over “Dead Man’s Chest” entirely by virtue of being so weird. This is a movie where our heroes sail their pirate ship through space to the afterlife to rescue Jack, for one thing. And the final battle takes place in a giant whirlpool in the middle of the ocean. Good times.

1. “Pirates of the Caribbean: The Curse of the Black Pearl”

The movie that started it all may seem (relatively) mundane by the standards of this weird franchise, but it’s also the funniest, most coherent and complete picture out of all them by a long shot. It’s no contest, really.

Related stories from TheWrap:

'Pirates' Charts Course for $76 Million Memorial Day Weekend

'Pirates of the Caribbean: Dead Men Tell No Tales' Review: Johnny Depp Serves Up a Fifth of Frivolity

Does 'Pirates of the Caribbean: Dead Men Tell No Tales' Have a Post-Credits Scene?

Disney CEO on 'Pirates' Ransom Scheme: 'We Were Not Hacked'

Penelope Cruz on ‘Everybody Knows’ Director: ‘He’s Demanding in a Very Good Way’ (Video)

Penelope Cruz says that her character Laura in the new film “Everybody Knows” is the most difficult role she’s played in her career. But she told TheWrap at the Toronto Film Festival that her performance wouldn’t have been possible without the “demanding” influence of director Asghar Farhadi.

“We all know he’s very special, very clever and very demanding. I say he’s demanding in a very good way. For me, that’s a virtue, not something bad,” Cruz told TheWrap’s Sharon Waxman. “I don’t think how I could’ve done that with somebody that didn’t have what he has.”

Farhadi, an Iranian director whose films “A Separation” and “The Salesman” both won the Best Foreign Language Film Oscar, returns with “Everybody Knows” about a woman who returns to her hometown near Madrid for her sister’s wedding, but endures a state of panic when her sister goes missing.

Also Read: ‘Everybody Knows’ Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years

Cruz, who stars along with her husband Javier Bardem, said that as soon as 15 minutes into the movie, enters into “such a horrible state of pain, desperation and horror.” She looked to the direction and writing of Farhadi to guide her through the experience.

“He needs to be very tough, he needs to ask you for the truth, and he was like that with all of us,” Cruz said. “He needs to tell you when something is not real and when you’re faking things and when things are empty. But he does it in a way where he’s so sweet and so respectful to everybody that you just want to give him your best.”

Bardem added that he worked closely with Farhadi to find the same nuance in his own character, who he described as a simple man, but was a no less complex character to create.

Also Read: ‘Everybody Knows’ Stars Penélope Cruz and Javier Bardem CannesWrap Portraits (Exclusive Photos)

“You don’t want him to look like a moron. Or you don’t want him to look like somebody who is too innocent,” Bardem said. “But he chose to be a person who gives, who takes care of the other, who really sees the other, rather than being too focused on himself. And we tried to achieve that soul of a man who is really there for others.”

Watch a clip from TheWrap’s interview above.

Related stories from TheWrap:

Nicole Kidman on Physical Transformation in ‘Destroyer’: ‘It’s My Job to Push Through’ (Video)

Joel Edgerton Explains Why Lucas Hedges Was Right to Play Gay Teen in ‘Boy Erased’ (Video)

Penélope Cruz Says She Spent Months in ‘Terrifying Pain’ for Cannes Opener ‘Everybody Knows’

Penelope Cruz says that her character Laura in the new film “Everybody Knows” is the most difficult role she’s played in her career. But she told TheWrap at the Toronto Film Festival that her performance wouldn’t have been possible without the “demanding” influence of director Asghar Farhadi.

“We all know he’s very special, very clever and very demanding. I say he’s demanding in a very good way. For me, that’s a virtue, not something bad,” Cruz told TheWrap’s Sharon Waxman. “I don’t think how I could’ve done that with somebody that didn’t have what he has.”

Farhadi, an Iranian director whose films “A Separation” and “The Salesman” both won the Best Foreign Language Film Oscar, returns with “Everybody Knows” about a woman who returns to her hometown near Madrid for her sister’s wedding, but endures a state of panic when her sister goes missing.

Cruz, who stars along with her husband Javier Bardem, said that as soon as 15 minutes into the movie, enters into “such a horrible state of pain, desperation and horror.” She looked to the direction and writing of Farhadi to guide her through the experience.

“He needs to be very tough, he needs to ask you for the truth, and he was like that with all of us,” Cruz said. “He needs to tell you when something is not real and when you’re faking things and when things are empty. But he does it in a way where he’s so sweet and so respectful to everybody that you just want to give him your best.”

Bardem added that he worked closely with Farhadi to find the same nuance in his own character, who he described as a simple man, but was a no less complex character to create.

“You don’t want him to look like a moron. Or you don’t want him to look like somebody who is too innocent,” Bardem said. “But he chose to be a person who gives, who takes care of the other, who really sees the other, rather than being too focused on himself. And we tried to achieve that soul of a man who is really there for others.”

Watch a clip from TheWrap’s interview above.

Related stories from TheWrap:

Nicole Kidman on Physical Transformation in 'Destroyer': 'It's My Job to Push Through' (Video)

Joel Edgerton Explains Why Lucas Hedges Was Right to Play Gay Teen in 'Boy Erased' (Video)

Penélope Cruz Says She Spent Months in 'Terrifying Pain' for Cannes Opener 'Everybody Knows'

Asghar Farhadi On Working with Spanish Royalty Javier Bardem And Penélope Cruz For Kidnap Thriller ‘Everybody Knows’ – Toronto Studio

Like its director, Asghar Farhadi’s new film made its Toronto debut after racking up quite a few air miles, having premiered as the opening attraction at this year’s Cannes Film Festival. His second film, after 2013’s The Past, to be filmed in a foreig…

Like its director, Asghar Farhadi's new film made its Toronto debut after racking up quite a few air miles, having premiered as the opening attraction at this year's Cannes Film Festival. His second film, after 2013's The Past, to be filmed in a foreign land, Everybody Knows sees the Iranian director teaming up with Spanish cinema legends Javier Bardem and Penélope Cruz—who accompanied him to the Deadline studio—to tell the story of a kidnapping in a small village in…

Deadline Studio at TIFF 2018 – Day 2 – Penélope Cruz, Javier Bardem, Julianne Moore, Barry Jenkins & More

Deadline’s studio at the Toronto International Film Festival kicked off Day 2 by hosting fest-goers such as Penélope Cruz and Javier Bardem of Everybody Knows; Julianne Moore and John Turturro of Gloria Bell; Jamie Lee Curtis and Danny McBride of…

Deadline’s studio at the Toronto International Film Festival kicked off Day 2 by hosting fest-goers such as Penélope Cruz and Javier Bardem of Everybody Knows; Julianne Moore and John Turturro of Gloria Bell; Jamie Lee Curtis and Danny McBride of Halloween; and many more. Click on the photo above to launch the gallery. Stay tuned for more photo galleries and video interviews from the Deadline Studio at TIFF 2018. Deadline Studio at TIFF 2018 is presented by eOne. Special…

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'

Penélope Cruz, In Cannes, Talks Working With Husband Javier Bardem & Emmy Buzz As Donatella Versace – The Actor’s Side

While I have been in Cannes for the past several days, I stopped by the rooftop of the J.W. Marriott right along the Croisette and taped a new episode of my Deadline video series The Actor’s Side with Oscar winner Penélope Cruz. She made a big sp…

While I have been in Cannes for the past several days, I stopped by the rooftop of the J.W. Marriott right along the Croisette and taped a new episode of my Deadline video series The Actor’s Side with Oscar winner Penélope Cruz. She made a big splash here with the opening-night film Everybody Knowswhich co-stars her husband Javier Bardem and was directed by two-time Oscar-winning Iranian filmmaker Asghar Farhadi. Cruz ramped up the glamour quotient here in the early…

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

The 2018 Cannes Film Festival is officially in full swing: “Everybody Knows” premiered Tuesday night to open the festival, where everyone had eyes for jury president Cate Blanchett.

Asghar Farhadi’s “Everybody Knows,” or “Todos Lo Saben,” wasn’t on the market long after the film premiered to somewhat mixed reviews — Focus Features nabbed the U.S. and international rights faster than anyone could say, “Croisette.”

Blanchett and the rest of the jury took on issues of #TimesUp and the lack of female directors during a press conference on Tuesday, with Blanchett assuring audiences that all films will be regarded equally in terms of the “quality” of the work, and not whether they have a female director or not.

Also Read: Why Cannes Film Market May Move at an Escargot’s Pace This Year

Wednesday will see the premiere of two competition titles, “Yommedine” and “Leto,” the former having a first-time director — a rarity for the Cannes competition. The latter is by a director under house arrest in Russia.

All in all, a continued pattern of caution will reign when it comes to deals at this year’s Cannes Film Festival, numerous industry insiders told TheWrap. In general, festival titles have been selling at a snail’s pace since last September’s Toronto International Film Festival.

Some things to watch out for during the festival: Amazon and Netflix’s spending spree — or lack thereof — this year. And distributors buying content packages with big movie stars attached.

See what everyone has been talking about on the first day of Cannes below.

“Everybody Knows” Premieres

On Tuesday, Asghar Farhadi’s new film, “Everybody Knows,” or “Todos Lo Saben,” premiered at Cannes — to somewhat mixed reviews.

The Guardian’s Peter Bradshaw called it an “intimately painful and powerful drama,” while IndieWire’s David Ehrlich described the film starring Penelope Cruz and Javier Bardem as “a layered, absorbing kidnapping drama…. Bardem rules. Farhadi’s best since ‘A Separation.’”

However, other critics weren’t too kind. One early viewer said it was “kind of empty, low key and not at all interesting,” while Alex Billington wrote, “Just wanted it to be over, and now it thankfully is.”

Critics reviews skewed more positive than negative — on MetaCritic, the drama holds a score of 73 percent.

Also Read: ‘Everybody Knows’ Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years

Regardless of the reviews, Focus Features pounced on “Everybody Knows,” acquiring the film for U.S. and key international territories early Wednesday morning.

Directed by Oscar-winning Iranian filmmaker Asghar Farhadi, the film follows Laura (Cruz) on her travels from Argentina to her small home town in Spain for her sister’s wedding, bringing her two children along for the occasion.  Amid the joyful reunion and festivities, the eldest daughter is abducted. In the tense days that follow, various family and community tensions surface and deeply hidden secrets are revealed.

See more reviews below.

Asghar Farhadi’s Everybody Knows is an intimately painful and powerful drama, crucially anchored by three heavyweight performances – Cruz, Bardem, Darín. Review later #Canne2018 #Cannes71 #Cannes

— Peter Bradshaw (@PeterBradshaw1) May 8, 2018

Asghar Farhadi’s Everybody Knows is an intimately painful and powerful drama, crucially anchored by three heavyweight performances – Cruz, Bardem, Darín. Review later #Canne2018 #Cannes71 #Cannes

— Peter Bradshaw (@PeterBradshaw1) May 8, 2018

Best Opener since… aveeeeery long time, but not Farhadi‘s best. #Cannes2018

— Joachim Kurz (@Mietgeist) May 8, 2018

Everybody Knows is messy melodrama that doesn’t add up to much but it’s Farhadi’s most cinematic work. Although that’s never been his strength so… #cannes2018

— Gregory Ellwood (@TheGregoryE) May 8, 2018

EVERYBODY KNOWS: a layered, absorbing kidnapping drama about secrets, the specter of money, and how such things can curdle into the kind of resentment that’s starving for any chance to make itself real. Bardem rules. Farhadi’s best since A SEPARATION. solid start to #Cannes2018.

— david ehrlich (@davidehrlich) May 8, 2018

You see the twist coming 20 minutes in, but hey, Farhadis #EverybodyKnows is still fun in its delicate deconstruction of a family. Bardem is having fun. So is Cruz but her role reduces her to the sobbing mama in the end. Too bad. It could‘ve used more viciousness. #cannes2018

— Beatrice Behn (@DansLeCinema) May 8, 2018

EVERYBODY KNOWS: Another rock solid episode of “The Young & The Restless” from Asghar Farhadi. The guy makes soaps! Is this a crime? I give it a B. #Cannes2018

— Jordan Hoffman (@jhoffman) May 8, 2018

EVERYBODY KNOWS: Asghar Farhadi spins great yarns of doubt and tension and he’s got a kidnap whodunit worthy of Agatha Christie with his latest. Penelope Cruz and Javier Bardem co-star, but it’s an ensemble success. A strong start to #Cannes2018

— Peter Howell (@peterhowellfilm) May 8, 2018

Everybody Knows – Everybody was bored. Big Spanish wedding turns into kidnapping thriller turns into big Spanish domestic drama. Didn’t grab me like Farhadi’s past films. Just wanted it to be over, and now it thankfully is. #cannes2018

— Alex Billington (@firstshowing) May 8, 2018

EVERYBODY KNOWS is minor Farhadi. Kind of empty, low key and not all that interesting. Applause at the press screening was muted perhaps because if just that. #Cannes2018

— The Syndicate (@YourSyndicate) May 8, 2018

EVERYBODY KNOWS is maudlin siliness, it’s family melodrama wrapped in a kidnapping caper that trades on the chrasima of its stars to little success. Predictability overshadows any moments of meaning or impact #Cannes2018

— ???????????????????? ???????????????????????? (@filmfest_ca) May 8, 2018

Cate Blanchett

It’s clear that the best reviews out of Cannes haven’t been about movies so far — instead, everyone can’t stop raving about Queen Cate Blanchett.

As president of the Cannes jury, Blanchett was front and center during the first day of Cannes, giving opening remarks and posing with the rest of the jury that included Ava DuVernay and Kristen Stewart (who also couldn’t stop ogling at Blanchett).

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

In fact, the hashtag #Cannes2018 was filled with pictures of Blanchett in her stunning pink suit and matching sunnies.

Cate Blanchett on films by women at #Cannes2018: “[They] are not there because of their gender but because of the quality of their work. We will be assessing them as filmmakers, as we should be.” https://t.co/yjD26E0kqv pic.twitter.com/3RXMewF5vq

— IndieWire (@IndieWire) May 8, 2018

Cate Blanchett at the Cannes Jury Photocall. She looks amazing pic.twitter.com/HhB96uhetG

— Best of Cate (@bestofcate) May 8, 2018

good morning to kristen stewart and cate blanchett at cannes only pic.twitter.com/Bzn83U9tLj

— Kristen (@salesonfilm) May 8, 2018

”Being attractive doesn’t preclude being intelligent. I think this is by its very nature a glamorous, fantastic, spectacular festival full of joie de vivre, full of great, good humor, full of discord and disharmony,”

— Cate Blanchett on red-carpet glamour and Cannes. pic.twitter.com/z9CRcgokg3

— Best of Cate (@bestofcate) May 8, 2018

find someone who looks at you the way kristen stewart is looking at cate blanchett omg ???? #Cannes pic.twitter.com/9qC4socrWU

— Ashley Lee (@cashleelee) May 8, 2018

The jury faced questions of #TimesUp and the number of films directed by women during a press conference on the first day of the festival. According to IndieWire, Blanchett insisted she will look at each film with an open mind, since three films under Palme d’Or consideration are directed by women.

The films in consideration directed by women “are not there because of their gender but because of the quality of their work. We will be assessing them as filmmakers, as we should be.”

“Would I like to see more women in competition?” Blanchett asked. “Absolutely.”

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

Only one, Jane Campion’s “The Piano,” has won Cannes’ top prize, the Palme d’Or, though actresses Adele Exarchopoulos and Lea Seudoux 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.

Keanu Reeves, Alex Winter Are Back for Third ‘Bill & Ted’ Film

On Tuesday, “Bill & Ted” was trending on Twitter in the United States because it was announced that Keanu Reeves and Alex Winter would reprise their roles as “Ted” Theodore Logan and “Bill” S. Preston Esq. in “Bill & Ted Face the Music,” the third film in the franchise.

The first film, “Bill & Ted’s Excellent Adventure,” was released in 1989. The sequel “Bill & Ted’s Bogus Journey” came out in 1991.

Also Read: Keanu Reeves, Alex Winter to Reprise Roles in Third ‘Bill & Ted’ Film

MGM is set to release the film domestically under its Orion Pictures banner. Endeavor Content negotiated the deal. Bloom will be handling the international sales in Cannes this week and will be introducing the films to buyers.

Getty Images

Screen Media Sings for Julianne Moore’s ‘Bel Canto’

Screen Media picked up the North American rights to Paul Weitz’s “Bel Canto,” the company announced Tuesday.

The film, which Weitz and Anthony Weintraub adapted from the best-selling 2001 novel by Ann Patchett, stars Julianne Moore as a famous American soprano who travels to South America in the 1990s to give a private concert at the birthday party of a wealthy Japanese industrialist (Ken Watanabe) — and then gets caught in a hostage situation.

The cast also includes Sebastian Koch, Christopher Lambert, Ryo Kase, Tenoch Huerta, and María Mercedes Coroy.

Still No Selfies Allowed

Everyone can’t seem to stop talking about how adamant the festival is this year about not allowing selfies and photographs on the red carpet.

On Monday, TheWrap’s Steve Pond reported that The Cannes Film Festival has laid down some new, or at least updated, rules this year. No selfies on the red carpet. No Netflix films. No press screenings in advance of premieres.

The Los Angeles Times’ Amy Kaufman tweeted, “Everyone abiding by selfie rule. I got reprimanded for even having my phone camera on.”

Cannes is not messing around w/ selfie ban. I just got my ticket for opening gala, in envelope is this: “No selfies and pictures on the red carpet, thank you. *offenders will be denied entrance to the screenings.” No personal photography on most photographed red carpet in world. pic.twitter.com/ZFB27gDvxR

— Chris Gardner (@chrissgardner) May 8, 2018

If you’re at #Cannes remember, no selfies, no Netflix, no horseplay, no hoop-and-stick, no hopscotch, no ice cream socials, no “jump rope,” no homemade jams or jellies, no catching fireflies, no “May pole,” and no referencing films any other way besides “The [Director Surname]”

— Josh L. Dickey (@JLDlite) May 8, 2018

At my first #cannes opening night and it feels even fancier than the #Oscars. They play music as stars walk down the red carpet and announce each celebrity with their resume. Also: Everyone abiding by selfie rule. I got reprimanded for even having my phone camera on.

— Amy Kaufman (@AmyKinLA) May 8, 2018

Related stories from TheWrap:

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

Penélope Cruz Says She Spent Months in ‘Terrifying Pain’ for Cannes Opener ‘Everybody Knows’

Cannes Film Festival 2018 Preview: No Selfies, No Netflix, No Problem

The 2018 Cannes Film Festival is officially in full swing: “Everybody Knows” premiered Tuesday night to open the festival, where everyone had eyes for jury president Cate Blanchett.

Asghar Farhadi’s “Everybody Knows,” or “Todos Lo Saben,” wasn’t on the market long after the film premiered to somewhat mixed reviews — Focus Features nabbed the U.S. and international rights faster than anyone could say, “Croisette.”

Blanchett and the rest of the jury took on issues of #TimesUp and the lack of female directors during a press conference on Tuesday, with Blanchett assuring audiences that all films will be regarded equally in terms of the “quality” of the work, and not whether they have a female director or not.

Wednesday will see the premiere of two competition titles, “Yommedine” and “Leto,” the former having a first-time director — a rarity for the Cannes competition. The latter is by a director under house arrest in Russia.

All in all, a continued pattern of caution will reign when it comes to deals at this year’s Cannes Film Festival, numerous industry insiders told TheWrap. In general, festival titles have been selling at a snail’s pace since last September’s Toronto International Film Festival.

Some things to watch out for during the festival: Amazon and Netflix’s spending spree — or lack thereof — this year. And distributors buying content packages with big movie stars attached.

See what everyone has been talking about on the first day of Cannes below.

“Everybody Knows” Premieres

On Tuesday, Asghar Farhadi’s new film, “Everybody Knows,” or “Todos Lo Saben,” premiered at Cannes — to somewhat mixed reviews.

The Guardian’s Peter Bradshaw called it an “intimately painful and powerful drama,” while IndieWire’s David Ehrlich described the film starring Penelope Cruz and Javier Bardem as “a layered, absorbing kidnapping drama…. Bardem rules. Farhadi’s best since ‘A Separation.'”

However, other critics weren’t too kind. One early viewer said it was “kind of empty, low key and not at all interesting,” while Alex Billington wrote, “Just wanted it to be over, and now it thankfully is.”

Critics reviews skewed more positive than negative — on MetaCritic, the drama holds a score of 73 percent.

Regardless of the reviews, Focus Features pounced on “Everybody Knows,” acquiring the film for U.S. and key international territories early Wednesday morning.

Directed by Oscar-winning Iranian filmmaker Asghar Farhadi, the film follows Laura (Cruz) on her travels from Argentina to her small home town in Spain for her sister’s wedding, bringing her two children along for the occasion.  Amid the joyful reunion and festivities, the eldest daughter is abducted. In the tense days that follow, various family and community tensions surface and deeply hidden secrets are revealed.

See more reviews below.

Cate Blanchett

It’s clear that the best reviews out of Cannes haven’t been about movies so far — instead, everyone can’t stop raving about Queen Cate Blanchett.

As president of the Cannes jury, Blanchett was front and center during the first day of Cannes, giving opening remarks and posing with the rest of the jury that included Ava DuVernay and Kristen Stewart (who also couldn’t stop ogling at Blanchett).

In fact, the hashtag #Cannes2018 was filled with pictures of Blanchett in her stunning pink suit and matching sunnies.

The jury faced questions of #TimesUp and the number of films directed by women during a press conference on the first day of the festival. According to IndieWire, Blanchett insisted she will look at each film with an open mind, since three films under Palme d’Or consideration are directed by women.

The films in consideration directed by women “are not there because of their gender but because of the quality of their work. We will be assessing them as filmmakers, as we should be.”

“Would I like to see more women in competition?” Blanchett asked. “Absolutely.”

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

Only one, Jane Campion’s “The Piano,” has won Cannes’ top prize, the Palme d’Or, though actresses Adele Exarchopoulos and Lea Seudoux 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.

Keanu Reeves, Alex Winter Are Back for Third ‘Bill & Ted’ Film

On Tuesday, “Bill & Ted” was trending on Twitter in the United States because it was announced that Keanu Reeves and Alex Winter would reprise their roles as “Ted” Theodore Logan and “Bill” S. Preston Esq. in “Bill & Ted Face the Music,” the third film in the franchise.

The first film, “Bill & Ted’s Excellent Adventure,” was released in 1989. The sequel “Bill & Ted’s Bogus Journey” came out in 1991.

MGM is set to release the film domestically under its Orion Pictures banner. Endeavor Content negotiated the deal. Bloom will be handling the international sales in Cannes this week and will be introducing the films to buyers.

Getty Images

Screen Media Sings for Julianne Moore’s ‘Bel Canto’

Screen Media picked up the North American rights to Paul Weitz’s “Bel Canto,” the company announced Tuesday.

The film, which Weitz and Anthony Weintraub adapted from the best-selling 2001 novel by Ann Patchett, stars Julianne Moore as a famous American soprano who travels to South America in the 1990s to give a private concert at the birthday party of a wealthy Japanese industrialist (Ken Watanabe) — and then gets caught in a hostage situation.

The cast also includes Sebastian Koch, Christopher Lambert, Ryo Kase, Tenoch Huerta, and María Mercedes Coroy.

Still No Selfies Allowed

Everyone can’t seem to stop talking about how adamant the festival is this year about not allowing selfies and photographs on the red carpet.

On Monday, TheWrap’s Steve Pond reported that The Cannes Film Festival has laid down some new, or at least updated, rules this year. No selfies on the red carpet. No Netflix films. No press screenings in advance of premieres.

The Los Angeles Times’ Amy Kaufman tweeted, “Everyone abiding by selfie rule. I got reprimanded for even having my phone camera on.”

Related stories from TheWrap:

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

Penélope Cruz Says She Spent Months in 'Terrifying Pain' for Cannes Opener 'Everybody Knows'

Cannes Film Festival 2018 Preview: No Selfies, No Netflix, No Problem

‘Everybody Knows’: Javier Bardem and Penélope Cruz Conquer Cannes with Globally Appealing Film, Plus Equal Pay

Iranian Asghar Farhadi and his two Spanish stars collaborated with great attention to detail on an emotional family drama with universal appeal.

That’s the way Cannes is supposed to go: Debut your ailm on opening night at Cannes, sell it to Focus Features overnight, launch well in theaters in France, and meet cheers at the press conference the following day. Spain’s power couple Javier Bardem and Penélope Cruz (who have been working together since “Jamón Jamón” in 1992), anchor Asghar Farhadi’s kidnap thriller “Everybody Knows,” which they helped him to develop over five years. Part of the appeal for Focus was its potential for Hispanic audiences.

At the Wednesday morning press conference, the Spanish stars thanked their Iranian director, whose films have won two foreign-language Oscars (“A Separation” and “The Salesman”), for his hard work, attention to detail, and ability to listen and observe.

“He has a lie detector,” said Cruz, who saw the film for the first time last night and also shared that she and Bardem accepted equal pay for the work. “He sees through everything…He’s a wonderful observer…He was like a sponge in the way people live and people talk. How can he identify when we make a mistake in one line? He doesn’t have control over the language, he doesn’t sleep, he was memorizing all of our dialogues. He remembers all of our lines. You could never trick him or fool him. He was open to discussion, involved in every single thing.”

For his part, this is Farhadi’s third film in Cannes competition after France’s “The Past” (2013), and Iran’s “The Salesman” (2016), for which he won Best Screenplay. While exploring another foreign language and culture was again a challenge, said Farhadi, “I focused always on what was in common…human beings are not different depending on the culture when it comes to emotion…love, hatred, and anger are feelings we find in all four corners of the world. It’s just the means of expression that vary, that show how close we all are in fact.”

Farhadi first met Bardem in L.A. and later, Cruz in Madrid. They all talked through various drafts of the movie on and off for five years.

“I wanted to make the film earlier,” Farhadi said, but returned to Iran to make “The Salesman” before coming back around to “Everybody Knows,” moving to Spain for two years to immerse himself before production. He collaborated with cinematographer José Luis Alcaine and his usual editor, Hayedeh Safiyari. Farhadi added that while the end result is very Spanish, the film has an Iranian soul.

everybody knows

“Everybody Knows”

“He’s produced one of the most Spanish films,” said Bardem, “Even more than a film by a Spanish director. He’s dedicated to his work, spares no effort with his attention to detail…What is important is that people know no borders…My character is caught up in a lot of emotions and feelings, he’s not intellectual, he feels despair and wants to do the right thing, not for himself but for others. This is different from honor. It’s generosity, not honor.”

The film has awards prospects here at Cannes for both three-time Oscar nominees (she won for Woody Allen’s “Vicky Cristina Barcelona,” while Bardem won for “No Country for Old Men”). Bardem already took home Cannes’ Best Actor for A.G. Iñárritu’s “Biutiful,” while Cruz is also in contention this Emmy season for playing Donatella Versace in “American Crime Story.”

Bardem and Cruz have learned not to take their roles home with them. “We both started very young in our twenties,” said Cruz. “Then, I felt that to torture myself and stay in character for months, the better the result would be. I have discovered that’s not true. To jump from reality to fiction many times in one day, I love that beautiful dance back and forth between both dimensions. This is work that we do, it would not make your life better if you use things from your private life. The fact that we know and trust each other so much really helps. It’s not something we do every two years. We do it once in a while, not too often.”

Despite the recent developments between America and Iran, Farhadi’s priority, he said, “is to make more films in Iran,” and to have “Everybody Knows” screen for the public there: “I don’t know if it will be able to be screened without being edited differently. I hope it will be successful despite what happened yesterday in Iran. People in Iran sent me positive messages when the festival opened with my film.”

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Cannes Opener ‘Everybody Knows’ Goes to Focus Features

Javier Bardem and Penelope Cruz anchor Asghar Farhadi’s taut kidnap drama, which could play well stateside.

Focus Features kicked off the Cannes 2018 market by acquiring opening night Competition entry “Everybody Knows,” starring Javier Bardem and Penélope Cruz. The solid Spanish-language melodrama from Iranian writer-director Asghar Farhadi played well Tuesday night to mixed response from critics. UTA and Memento fielded multiple bids for the film — which did not go to Netflix– which screened for buyers ahead of Cannes.

Bardem and Cruz walked the red carpet at the opening night ceremony packed with French stars, from Jean-Luc Godard’s “Pierrot Le Fou” star Anna Karina to Isabelle Adjani, which introduced Cate Blanchett’s jury; Blanchett and Martin Scorsese officially declared Cannes 2018 open.

“Everybody Knows” is in the running for jury prizes, which could go to Bardem or Cruz; and Spain could submit the film for the Oscars.

Focus will release the taut family kidnap drama in the U.S., Canada, UK, Australia, New Zealand, South Africa, India, select Asian territories and the Middle East (but not Iran).  Focus had previously acquired rights in Spain last year.

Farhadi has two foreign-language Oscar wins, for “A Separation” and “The Salesman.” In the film, Laura (Cruz) and her two children travel from Argentina to her home village in Spain for her sister’s wedding. As her sprawling family celebrates during a blackout, Laura’s 16-year-old daughter goes missing and a ransom note appears. Under pressure, family secrets and community tensions emerge as Laura’s old lover Paco (Bardem) takes on a pivotal role in the kidnap negotiations.

Javier Bardem and Penelope Cruz'Everybody Knows' premiere and opening ceremony, 71st Cannes Film Festival, France - 08 May 2018

Javier Bardem and Penelope Cruz from ‘Everybody Knows’

James Gourley/REX/Shutterstock

“Everybody Knows” is produced by Alexandre Mallet-Guy of Memento Films and Álvaro Longoria of Morena Films.

Universal’s specialty division Focus Features, led by chairman Peter Kujawski, is on a roll; they released 2017 Oscar contenders “Darkest Hour” (Working Title) and Paul Thomas Anderson’s “Phantom Thread” (Annapurna). In current release is Jason Reitman’s well-reviewed new comedy “Tully,” starring Charlize Theron and written by Diablo Cody. Playing in competition at Cannes is Spike Lee’s new film “BlacKkKlansman; also in the release pipeline is Sundance breakout “Won’t You Be By Neighbor,” Morgan Neville’s documentary on Mister Rogers; “Room” director Lenny Abrahamson’s thriller “The Little Stranger”; Joel Edgerton’s coming-out drama “Boy Erased,” starring Lucas Hedges, Nicole Kidman and Russell Crowe; “Mary, Queen of Scots,” with Saoirse Ronan as Mary and Margot Robbie as Elizabeth I; and Mimi Leder’s “On the Basis of Sex,” starring Felicity Jones as Supreme Court Justice Ruth Bader Ginsburg.

Focus Features Buys Cannes Opener ‘Everybody Knows’

BREAKING: Focus Features won a late night auction for Everybody Knows, the Spanish language Asghar Farhadi film that opened the Cannes Film Festival last night with a glamorous Palais premiere that featured stars Javier Bardem, Penelope Cruz and Ricard…

BREAKING: Focus Features won a late night auction for Everybody Knows, the Spanish language Asghar Farhadi film that opened the Cannes Film Festival last night with a glamorous Palais premiere that featured stars Javier Bardem, Penelope Cruz and Ricardo Darín. Focus will distribute in the US, Canada, UK, Australia, New Zealand, South Africa, India, select Asian territories and the Middle East, apart from Iran. Focus had previously acquired rights in Spain last year…

Spanish Star Power And Oscar Winners Get 71st Cannes Film Festival Launched In Style

The 71st edition of the Cannes Film Festival got off to a strong start Tuesday night with the world premiere of  two-time Oscar-winning director Asghar Farhadi’s familial kidnapping mystery drama Everybody Knows, with stars Javier Bardem, Penelop…

The 71st edition of the Cannes Film Festival got off to a strong start Tuesday night with the world premiere of  two-time Oscar-winning director Asghar Farhadi’s familial kidnapping mystery drama Everybody Knowswith stars Javier Bardem, Penelope Cruz and Ricardo Darin walking the fabled red-carpeted Grand Theatre Lumiere steps along with the Iran-born director. The film itself played well — an accessible melodrama centering on the kidnapping of a teen girl that leads to…

‘Everybody Knows’ Film Review: Penélope Cruz, Javier Bardem in Strongest Cannes Opener in Years

Most years, the Cannes Film Festival opens with a forgettable film: the French melodrama “Ismael’s Ghosts” last year, Woody Allen’s “Café Society” the year before, the aggressively unpleasant “Standing Tall” and the risible “Grace of Monaco” in 2015 and 2014, respectively.

This year, though, Cannes opted to kick off with Asghar Farhadi’s “Everybody Knows,” which is a different matter entirely. The Iranian director is a master of examining the tensions of class and gender and detailing the large and small matters that can gnaw at people and at a society.

His Spanish-language film starring Penélope Cruz and Javier Bardem is a worthy successor to the string of standout films he’s been sending to international festivals over the last decade: “About Elly,” which won the Silver Bear at Berlin in 2009; “A Separation,” which won the Golden Bear at that festival in 2011 and went on to take the foreign-language Academy Award; “The Past,” which won acting and screenplay honors at Cannes in 2016; and “The Salesman,” which also won the Cannes screenplay award and the foreign Oscar.

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“Everybody Knows,” which launched the 2018 Cannes on Tuesday night after a gala opening-night ceremony, transplants many of Farhadi’s usual concerns to a small village in Spain. The advance word called it a psychological thriller, and it does contain some thriller elements such as a crime and a race against time to save a young girl who’s gone missing.

But this is not Farhadi doing a genre exercise; as is most of his work, “Everybody Knows” is a quietly gripping examination of societal divisions, of class, of secrets that bind us together and pull us apart.

And it’s about what happens when secrets aren’t really secrets, when “everybody knows” — or suspects, or at least gossips.

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Many of those secrets swirl around Laura and Paco, played by Cruz and Bardem. She’s a woman from the village who has been living with her husband and children in Argentina for years, but who returns to Spain for her sister’s wedding. Played by Cruz, Laura is both a beloved member of this community and somehow apart from it; her resentments toward the people she left behind, and theirs toward her, aren’t always obvious, but they’re present.

Paco, on the other hand, appears to be a local farmhand working the vineyard when we first see him in sweat-drenched flannel. He looks completely comfortable as a laborer — but it turns out that this is his vineyard and his estate, and when his wife beckons him into the house to take a shower and change, it’s clear that he’s not quite as comfortable as he was out on a tractor.

We learn soon enough that Laura and Paco grew up together and were in love as teenagers, when her family owned the land and his worked on it. But at one point, Paco bought part of the estate from Laura at a good price, helping her out when she needed money but also prompting mutterings that he’d taken advantage of the family to attain his undeserved status as an estate owner.

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But the resentments only surface after a catastrophe. Laura’s daughter Irene (Carla Campra) feels ill during the wedding celebration and goes upstairs to sleep it off — but at some point, Laura realizes Irene is missing, which sends her into a panic that elevates to hysteria when she gets a text announcing that her daughter has been kidnapped.

In a way, this incident puts “Everybody Knows” in a league with Farhadi’s “About Elly,” in which a young woman disappears while on a beach trip with friends. Neither film was a whodunit by any means; Farhadi may eventually tell you what happened and who did it, but he’s far more interested in letting the dominoes fall and the buried troubles surface.

Laura’s feckless husband, played by Argentinian actor Ricardo Darin, is absent at first and then shows up to insist that God will take care of things, which enrages his wife. She turns to Paco for help, which begins to raise questions both in the minds of other characters and viewers. (Most of the latter, it’s safe to say, will be a step or two ahead of the former.)

Cruz and Bardem have acted together several times, both before and after they became a real-life couple, but they have rarely gone to these emotional extremes together. For Bardem, the anguish is largely internal — but as “Biutiful” showed, few actors are better at conveying the weight of the world in a furrowed brow or a slumped shoulder.

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For Cruz, meanwhile, this is a tour de force performance constructed from shades of anger, desperation and near catatonic grief, almost as exhausting to watch as it must have been to deliver.

Farhadi is a rigorous filmmaker but not a showy one, and “Everybody Knows” is as formally understated as it is emotionally wrought. Though Alberto Iglesias is credited with a score, the vast majority of the film unfolds in silence, the better to hear each panicked gasp or suffer through each pregnant pause.

Farhadi does not speak Spanish, and used two translators on the set to make himself understood by the cast. (They also spoke a lot of broken English, says Bardem.) He is perhaps a more incisive and cutting chronicler of his home country than of France or Spain; you can see why, after he made “The Past” in Paris in 2013, he felt he needed to return to Iran to make “The Salesman” before heading to Spain for “Everybody Knows.”

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But this is strong, disquieting work — and even when we get the kind of answers about what actually happened that Farhadi sometimes withholds in his films, it remains a dark character study of people who will never recover from old loves and old grudges.

It is also the most substantial film to open a Cannes Film Festival in years. The festival’s new policy of not holding press screenings in advance of public premieres meant that “Everybody Knows” was the only film screened in the Palais on opening day, a fact that led to more than a few grumbles. But if you’re only going to show off a single film, at least it was one that warranted this kind of spotlight.

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Most years, the Cannes Film Festival opens with a forgettable film: the French melodrama “Ismael’s Ghosts” last year, Woody Allen’s “Café Society” the year before, the aggressively unpleasant “Standing Tall” and the risible “Grace of Monaco” in 2015 and 2014, respectively.

This year, though, Cannes opted to kick off with Asghar Farhadi’s “Everybody Knows,” which is a different matter entirely. The Iranian director is a master of examining the tensions of class and gender and detailing the large and small matters that can gnaw at people and at a society.

His Spanish-language film starring Penélope Cruz and Javier Bardem is a worthy successor to the string of standout films he’s been sending to international festivals over the last decade: “About Elly,” which won the Silver Bear at Berlin in 2009; “A Separation,” which won the Golden Bear at that festival in 2011 and went on to take the foreign-language Academy Award; “The Past,” which won acting and screenplay honors at Cannes in 2016; and “The Salesman,” which also won the Cannes screenplay award and the foreign Oscar.

“Everybody Knows,” which launched the 2018 Cannes on Tuesday night after a gala opening-night ceremony, transplants many of Farhadi’s usual concerns to a small village in Spain. The advance word called it a psychological thriller, and it does contain some thriller elements such as a crime and a race against time to save a young girl who’s gone missing.

But this is not Farhadi doing a genre exercise; as is most of his work, “Everybody Knows” is a quietly gripping examination of societal divisions, of class, of secrets that bind us together and pull us apart.

And it’s about what happens when secrets aren’t really secrets, when “everybody knows” — or suspects, or at least gossips.

Many of those secrets swirl around Laura and Paco, played by Cruz and Bardem. She’s a woman from the village who has been living with her husband and children in Argentina for years, but who returns to Spain for her sister’s wedding. Played by Cruz, Laura is both a beloved member of this community and somehow apart from it; her resentments toward the people she left behind, and theirs toward her, aren’t always obvious, but they’re present.

Paco, on the other hand, appears to be a local farmhand working the vineyard when we first see him in sweat-drenched flannel. He looks completely comfortable as a laborer — but it turns out that this is his vineyard and his estate, and when his wife beckons him into the house to take a shower and change, it’s clear that he’s not quite as comfortable as he was out on a tractor.

We learn soon enough that Laura and Paco grew up together and were in love as teenagers, when her family owned the land and his worked on it. But at one point, Paco bought part of the estate from Laura at a good price, helping her out when she needed money but also prompting mutterings that he’d taken advantage of the family to attain his undeserved status as an estate owner.

But the resentments only surface after a catastrophe. Laura’s daughter Irene (Carla Campra) feels ill during the wedding celebration and goes upstairs to sleep it off — but at some point, Laura realizes Irene is missing, which sends her into a panic that elevates to hysteria when she gets a text announcing that her daughter has been kidnapped.

In a way, this incident puts “Everybody Knows” in a league with Farhadi’s “About Elly,” in which a young woman disappears while on a beach trip with friends. Neither film was a whodunit by any means; Farhadi may eventually tell you what happened and who did it, but he’s far more interested in letting the dominoes fall and the buried troubles surface.

Laura’s feckless husband, played by Argentinian actor Ricardo Darin, is absent at first and then shows up to insist that God will take care of things, which enrages his wife. She turns to Paco for help, which begins to raise questions both in the minds of other characters and viewers. (Most of the latter, it’s safe to say, will be a step or two ahead of the former.)

Cruz and Bardem have acted together several times, both before and after they became a real-life couple, but they have rarely gone to these emotional extremes together. For Bardem, the anguish is largely internal — but as “Biutiful” showed, few actors are better at conveying the weight of the world in a furrowed brow or a slumped shoulder.

For Cruz, meanwhile, this is a tour de force performance constructed from shades of anger, desperation and near catatonic grief, almost as exhausting to watch as it must have been to deliver.

Farhadi is a rigorous filmmaker but not a showy one, and “Everybody Knows” is as formally understated as it is emotionally wrought. Though Alberto Iglesias is credited with a score, the vast majority of the film unfolds in silence, the better to hear each panicked gasp or suffer through each pregnant pause.

Farhadi does not speak Spanish, and used two translators on the set to make himself understood by the cast. (They also spoke a lot of broken English, says Bardem.) He is perhaps a more incisive and cutting chronicler of his home country than of France or Spain; you can see why, after he made “The Past” in Paris in 2013, he felt he needed to return to Iran to make “The Salesman” before heading to Spain for “Everybody Knows.”

But this is strong, disquieting work — and even when we get the kind of answers about what actually happened that Farhadi sometimes withholds in his films, it remains a dark character study of people who will never recover from old loves and old grudges.

It is also the most substantial film to open a Cannes Film Festival in years. The festival’s new policy of not holding press screenings in advance of public premieres meant that “Everybody Knows” was the only film screened in the Palais on opening day, a fact that led to more than a few grumbles. But if you’re only going to show off a single film, at least it was one that warranted this kind of spotlight.

Related stories from TheWrap:

Netflix CEO Disses Cannes Film Fest After Streamer Pulls Out: There Are 'a Lot of Other Festivals'

Cannes Stands by Terry Gilliam's 'Don Quixote' Despite Producer's Lawsuit to Block Screening

Cannes Film Festival to Offer Sexual Harassment Hotline