Meet the Cannes Jury: What they revealed about the festival to come?

by Elisa Giudici

Park Chan Wook and Chloe Zhao © Elisa Giudici

What kind of festival the 79th Annual Cannes Film Festival will be is something the films in Competition and the side sections will ultimately determine. But there’s little doubt that the final perception of Cannes - and the line between winners and losers - will also be shaped by the jury presided over by Park Chan-wook, who today faced the traditional opening press conference.

What became immediately clear is how prepared every juror was to answer politically charged or potentially controversial questions. After the turbulence of Berlin earlier this year, publicists and agents clearly did their homework: politics, Gaza, artificial intelligence and representation were all addressed with awareness and, in most cases, notable intelligence. It also helped that Paul Laverty quickly positioned himself as the most openly political voice on the panel, absorbing much of the pressure around the more sensitive topics...

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Cannes at Home: “Moulin Rouge!” @25

by Cláudio Alves

The 79th Cannes Film Festival is upon us and, as ever, Elisa is on the ground to report directly from the Croisette. Sadly, most of us can only watch from afar. For years, I struggled with festival-related FOMO, but one little annual series here at The Film Experience has helped combat it. Obviously, I’m referring to “Cannes at Home,” the rubric I’m happy to revive once more, perusing past films from the various cineastes in the Main Competition that are widely available. Alas, it’s very rare for a title vying for the Palme to open celebrations at Cannes, and this year is no different. Pierre Salvadori’s The Electric Kiss marked the fest’s official start, but it’s playing Out of Competition so the director’s work won’t be showcased here, in “Cannes at Home.”

Instead, let’s rewind to 2001, when the Cannes Film Festival celebrated its 54th edition. A quarter century ago, the Opening Film was actually among the competition lineup. It was none other than Baz Luhrmann’s Moulin Rouge!, the best movie musical yet produced since the millennium changed. Damn, 21st century cinema peaked early…

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Tony Nominations ~ The Plays

by Nathaniel R

While I made a real effort to catch all the musicals this season I'm weaker on the plays having seen only 5 of the 18 that opened this past season. Let's talk about the nominees. I'll be sure to mention any film connections to keep the less theater-inclined interested...

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Review: Elliot Tuttle’s “Blue Film” is a transfixing transgression

by Cláudio Alves

© Obscured Releasing

Every year, so-called provocateurs come out of the woodwork with films that promise to shock audiences, challenge norms and push boundaries, leaving behind broken taboos in their wake. And yet, true transgressions are few and far between. More often than not, viewers are met with the pretension of risk-taking on the part of artists too timorous to take any actual risk. When a picture comes about and honestly earns these descriptors, one should take note. So, please note Elliot Tuttle’s Blue Film. It’s the sordid yet simple story of the night spent between a gay camboy and the stranger who paid for his company. 

During those hours, perversity takes on another meaning as actors Kieron Moore and Reed Birney playact a scenario in which nothing feels more verboten than a show of affection, empathy extended toward those who would rightfully revolt us. Blue Film forms a lewd poem of broken hearts and sad monsters, a mural of cumstains and razor burns, topped by a secret song that you listen to while feeling like you shouldn’t, like you’re encroaching on something so private that to witness it is a violation. All throughout, there’s this pervading sense one is peeking into what ought to remain unseen…

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Tony Award Nominations Are In ~ The Musicals

by Nathaniel R

While The Film Experience is about, well, the movies, longtime readers know that I like to throw in a little live theater whenever possible. And these days as with TV and Film, the line between mediums is ever blurry with stage shows making it to screen or TV and vice versa or both unconnected when they are inspired by the same novel. Though I’ve always tried to be a somewhat regular theatergoer, funding and time often refuse to comply. But during the 2025-2026 season I hit the boards a lot and managed to see 100% of the eligible New Musicals and 40% of the revivals (though I fully hope to make that 80% soon). I did less well with plays though I'll try to see something else before the big night.  In short, my opinions hold more weight (with myself) since I caught a lot more of the season. 

Today nominations were announced for the 79th Annual Tony Awards which will be held June 9th in New York City, and broadcast on CBS Paramount+. This year's festivities will be hosted by Grammy winner P!nk so you can bet there will be aerial action given that one of the two nomination leaders is an adaptation of the 1987 vampire movie The Lost Boys (which, a full review later). So let's talk about the musical nominations...

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