Cannes Red Carpet 2: Dystopian Glamour + Illicit Flats

We return to Cannes glamour...

NATHANIEL: It has been a full week since the last Red Carpet conversation which is INEXCUSABLE, this being Cannes but the sheer volume of dresses (and I'm not talking about size though there is some of that) but quantity have made it rather daunting. So let's discuss 11 looks today.

Before we get to the lineups, I don't much care for white dresses at events unless someone is getting hitched so Zoe Kravitz is the only one out of an original multiperson white lineup I was going to do. Because I think the extension braids totally complete the look.

JOSE: Rooney Mara corners the market on bridal couture on the red carpet in my opinion, but Zoe looks really nice too! I wish she would've worn this in Mad Max instead of looking so dirty. That movie did nothing for my OCD. I wanted to hand everyone a gallon of Purell

NATHANIEL:  I love that her name in Fury Road was "Toast the Knowing".... LOL. You can't expect toast to not have that scrape off burnt layer though personally i think Zoe and her fellow rogue sex slaves looked pretty immaculate considering the white wraps and that they were riding UNDERNEATH A FUEL TRUCK.

JOSE: They needed more Valentino though! Have they learned nothing from looking glamorous in dystopia? Madonna pulls it off in Ghosttown beautifully...

MARGARET: Zoe clearly understands this, making up for it by rocking Valentino here. In white gowns, especially ones this simple, the pressure is on the hair and makeup to sell the look and she nailed it on both counts.

10 MORE LOOKS AFTER THE JUMP...

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Cannes Actress: Zhao Tao and Jane Fonda

The latest buzz from Cannes is that the Best Actress race is heating up. Or at least speculation is. Marion Cotillard's Lady MacBeth has yet to screen but those that have seen it early are typically wowed. But we know at this point not to expect Cannes juries to point and go "Her! Her!". If there is a Blanchett-Vanquisher out there it may well be Zhao Tao who stars in the "giddily ambitious" Mountains May Depart.

That's the latest from the reknowned Jia Zhangke, a regular at the fest for whom Zhao Tao is a recurring player (Still Life, Platform, A Touch of Sin). Mountains is Zhangke's fourth try at the Palme and though he usually comes away empty-handed, his last attempt A Touch of Sin (2013) took Best Screenplay. Despite the jury completely changing each year Cannes somehow has an Oscar-like sense of momentum wherein you generally move up the ranks as to which prizes you take; longevity wins the Palme. (It's not as simple as that of course but there can be a weird cumulative coronation effect.)

So that makes the Palme race: Hungary's Son of Saul vs. USA's Carol vs China's Mountains May Depart? (Or am I forgetting something that's been similarly ecstatically received?) Typing them out that way it makes Cannes sound like the Olympics of the movies, only annual instead of bi-annual. And maybe it is?

In other Canne actressy news, our friend Kyle Buchanan says that Jane Fonda walks away with Paolo Sorrentino's Youth which stars Michael Caine as a retired film composer.  I'm hearing that Fonda's role is very showy (an old combative muse to Harvey Keitel's director character), but quite small. Nevertheless I couldn't help but immediately picture both Grace (Jane) and Frankie (Lily) as Oscar nominees this year in Supporting (for Youth) and Lead (for Grandma) and how much media fun would that be? Sorrentino had a major Cannes sensation and eventual Oscar winner with his last film The Great Beauty. This one is in English which naturally will give it a leg up with Oscar voters if it opens this year but it's already more divisive which can be a problem. Still love/hate divides are tough to predict with awards. All you sometimes need is the right people on the love side to turn the critical tide around. And anyway when this mixed review called it 'elegant fun' I just thought... doesn't that describe a lot of well received prestige films?

But just to remind us that she's already one of the immortals (with 2 Oscars, multiple classic films, and celebrity outside of acting as well, the legend is assured) here is Jane Fonda looking amazing on the cover of W --  their oldest cover girl ever.

Here's an interesting bit on self-awareness from the W interview: 

One day on the set of On Golden Pond, a film that she coproduced so that she could costar with her father, the legendary actor Henry Fonda, she was fixing her hair when Katharine Hepburn (who played her mother in the film) pinched her cheek and demanded, “What do you want this to mean?” “It was 1981, and I didn’t know what she was talking about,” Fonda recalled. “Back then, I didn’t give my looks a fare-thee-well, and that bothered Katharine. She said to me, ‘This is what you present to the world. What do you want it to say about you?’ Her question has been lodged in my psyche ever since. I now think what Katharine meant was awareness of a persona. She wanted me to consider how I wanted to be seen. Now I pay attention to how I present myself to the world. I realize that it matters.”

Inside Out at Cannes: the critics approve

We have a new Pixar film!

Two years after Monsters University failed to actively offend or actively entertain most of the world, the studio's 15th feature, Inside Out premiered out of competition at the Cannes Film Festival today. The consensus of critical opinion is that it's a strong work if not quite among the studio's best. While nobody I've found has tried to compare it to the recent run of not-that-greats including Cars 2 and Brave, it seems fair to assume it's a return to form.

Here's a quick tour of some of the reviews so far, in descending order of enthusiasm:

"...promises to forever change the way people think about the way people think, delivering creative fireworks grounded by a wonderfully relatable family story."
-Peter Debruge, Variety

"This is a humane and heart-wrenchingly beautiful film from Docter; even measured alongside Pixar’s numerous great pictures, it stands out as one of the studio’s very best."
-Robbie Collin, The Telegraph

"It hasn’t anything as genuinely emotionally devastating as Up, or the subtlety and inspired subversion of Monsters Inc. and the Toy Stories which it certainly resembles at various stages. But it is certainly a terrifically likeable, ebullient and seductive piece of entertainment."
-Peter Bradshaw, The Guardian

"It can feel didactic in a way that the let-the-pictures-tell-the-story elegance of "Toy Story" and Docter's own "Up" never did... However, once the gigantic machine is up and running, these issues mostly fall away like booster engines from a space rocket."
-Jessica Kiang, Indiewire

"It’s an audacious concept, and Docter’s imagination, along with those of his numerous collaborators, is adventurous and genially daft enough to put it over."
-Todd McCarthy, The Hollywood Reporter

Those of us stuck hundreds of miles from the Croisette have to wait a while yet to make up our own minds - Inside Out hits the States on June 19. These early reviews have done a mostly good job of calming down the little voice inside my own head that's been terrified that Pixar would be stuck in a gear of high-achieving mediocrity for the rest of time, though "hey, this is a fun and good movie!" isn't quite the overriding level of passion that the studio used to produce from film after film after film.

The Voice Cast in Cannes

Still, it augurs well that, at a minimum, we're going to have a pretty snazzy piece of creative and moving entertainment at this time next month. It's a great feeling to actually be looking forward to a Pixar movie for a change, and not nervously counting down to the release date while praying "please don't suck". "Not one of their all-time masterpieces" will be good enough to get through these last few weeks of waiting!

Cannes Review: Irrational Man

Diana Drumm sends us another review from Cannes... 

A promising premise and captivating performances fall flat as a philosophy professor leaps after a misguided notion of the philosophical imperative, tumbling after one of his own theoreticals to disastrous results. Like much of Allen’s lesser filmography, Irrational Man dabbles in some of the auteur’s favorite subjects (philosophy, middle-aged male crisis, May-December or in this case June-November romances) and takes on more than it can chew, choking up in the third act.

The film’s tone shifts with the stumbled abandon of a dizzied drunk trying to make up his mind whether to stand or stay seated, from murky to light to dark, sprawling discussions to tensed farce...

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