Cannes Gowns, Round 8

Previous Cannes 2022 Fashion Polls: 1, 2, 3, 4, 5, 6, and 7

Cannes closing ceremony hits this weekend and so many stars have already been strutting to the premieres and parties that we have to wonder who will stick around to the bitter end? Or, more excitingly, who might be called back to town for the closing ceremony. They don't tell people what they're winning, from what we've heard, but they do supposedly contact some filmmakers people to suggest that the team should be in town if you catch the drift. But we're getting ahead of ourselves. That's this weekend. In today's roundup, Sharon Stone, Maggie Gyllenhaal, Crimes of the Future's Kristen Stewart, and Zar Amir Ebrahimi who is the star of Ali Abassi's buzzy serial killer film Holy Spider. It's based on a true story though her reporter/protagonist role is an invention.

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Cannes at Home: Day 6 – Trolls, Actresses, and the Whole Shebang

by Cláudio Alves 

Well, folks, it seems we have another strong contender for the Palme d'Or. If Cristian Mungiu's R.M.N had people whispering about awards possibilities, Ali Abbasi's Holy Spider upped the conversation considerably. It isn't the first time the Iranian-Danish filmmaker presented work at Cannes, though Border was relegated to the Un Certain Regard competition – which it won. That same day, Valeria Bruni Tedeschi showed her latest directorial effort, Forever Young. The actress-turned-director already competed for the Palme back in 2013 with A Castle in Italy. Nevertheless, like Abbasi, her first film to be screened at Cannes was slotted for the Un Certain Regard section. In 2007, Tedeschi won a Special Jury Prize for Actresses.

As one ponders these directors' latest accomplishments, let's look back at their first prize-winning Cannes experiences…

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Cannes Gowns, Round 7: Decision to Trend

Previous Cannes 2022 Fashion Polls: 1, 2, 3, 4, 5, and 6

Léa Seydoux has multiple films at Cannes which is the norm given how in demand she is both at home in France and abroad. This is the gown she wore to her Crimes of the Future premiere. Brilliant Chinese actress Tang Wei returned to the spotlight with Decision to Leave (which Elisa thinks is THE film of Cannes thus far). If you've been wondering where she's been that three year break was because she recently had her first child with husband director Kim Tae-yong (Late Autumn). Meanwhile the UK's Lashana Lynch and Spain's always memorable Rossy de Palma were right on trend; there have been a lot of metallic and/or disco ball gowns as well as an abundance of brilliant pink on the red carpet of late. 

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Cannes Diary #7: Park and Cronenberg are back with incredible movies

by Elisa Giudici

The masters are back with masterful movies! Seeing Park Chan-wook’s Decision to Leave followed by David Cronenberg’s Crimes of future with only a 20 minutes break between them seemed almost a waste. These two are among the most (rightfully) hyped movies of the entire year and of this Cannes edition. I really wanted some time after the first especially to think fully on what I had just seen, savoring the first impression instead of deep diving into an equally immersive but radically different film experience. Especially considering that one of the two is a perfect movie, a rare five out of five stars, 10 out of 10, or whatever other token of appreciation you can imagine.

Those two films and a new French movie after the jump...

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Cláudio's Best Shot Pick: Ex Machina (2014)

The next episode of our series, 'Hit Me With Your Best Shot,' arrives Tuesday night. Since Alex Garland's Men is upon us, this week's selection falls on the director's breakthrough feature – the Oscar-winning Ex Machina. You still have time to participate! Here's Cláudio's entry:

Even though one tries to avoid the online discourse around Men – at least until everybody has had a chance to watch it – some grumblings are rather hard to block off. If that wasn't enough to affect the expectations going into the new movie, this look back at Ex Machina certainly does. The sci-fi chamber drama is a formidable reminder that Alex Garland is a better director than a writer, colligating blunt ideas and blunter dialogue with spellbinding form. Within the realm of glances refracted through glass labyrinths, insinuating architecture and eerie eroticism, Ex Machina triumphs. It's when its characters open their mouth to blabber on that the appearance of cinematic greatness gets spoiled. 

Thankfully, Hit Me with Your Best Shot is about visuals, so we're in a safe place with Ex Machina. Whatever misgivings I might have, the film looks impeccable…

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