Cannes at Home: Day 1 – When "Gatsby "opened the festival...

by Cláudio Alves

The 76th edition of the Cannes Film Festival has begun in a flurry of controversy. Jeanne Du Barry, Johnny Depp's return to the silver screen after a much-publicized trial, was selected to open the festivities, prompting reporters to swarm the Croisette with polemic on their minds. The situation wasn't helped by incidents earlier this year, when director Maïwenn spat on a journalist, making their film about much more than just Louis XV's last mistress. In giving such attention to the kerfuffle, we've all played into Thierry Frémaux's hands. Regardless of the picture's quality, everybody's eyes are on Cannes, whether looking for a redemption story, an immoral scandal, or secret fashion messages on the red carpet.

Then again, the Cannes opener is seldom an example of masterpiece cinema capable of accruing wide acclaim. More often than not, the titles blessed – or is it burdened? – with this honor tend to be mixed bags with big names attached, glossy stuff ready to act as attention magnets. Such was the case ten years ago when Baz Luhrmann's The Great Gatsby opened the festivities to various degrees of critical hostility. Looking back, one is enticed by the possibility of reappraisal…

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Split Decision: Elvis

Team Experience has been pairing up to debate the merits of each big awards season movie. Here's episode 11 with Chris James and Glenn Dunks duking it out over Elvis. The series resumes will resume for a few final episodes after the nominations.

CHRIS: Well, well, well, Glenn. We meet again. Excited to talk about Elvis with you. Previously, I was a sourpuss about the cinematic excesses of Babylon. While I have mixed thoughts on Elvis, I think the excesses of this movie are more in service of the film and its titular subject. I went with a few friends to the Chinese Theater in Hollywood to watch it on opening night and had a blast reacting both with and at the movie. As a friend said to me, "maximalism is meant to provoke a response, even laughter." At the very least, Elvis is an enjoyable watch.

It's always good to see a movie for adults become a box office success, especially in the post-pandemic era...

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Oscar Volley: Which five will be named "Best Director"?

Team Experience will be discussing each Oscar category as we head into the precursors. Here's Eric Blume and Glenn Dunks...  

THE FABELMANS

ERIC:  Glenn, before we get to this year's nominees, I just want to celebrate the Academy's relative great taste in this category compared to most others.  It's phenomenal that only once in the last 14 years has this award gone to a straight white American man (Damien Chazelle, deservedly in my opinion).  In those years, we've had three women, two Asian men, two Brits, and a French guy who have won, plus three great Latin filmmakers (including double wins for Iñárritu and Cuarón).  It's the category where they now have diversity and true talent.  I might have chosen differently in any given year, but none of the filmmakers are bad or untalented.  Tom Hooper beating David Fincher didn't land back then and certainly hasn't aged well, but regardless it's a great category filled with remarkable work.

This year, it seems our one lock is Steven Spielberg?  He wouldn't be in my top five, but he's received the reviews and the industry is in his back pocket...

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"Elvis" wins big at the AACTAs

by Travis Cragg

Austin Butler as "ELVIS"

As anticipated here last month, Baz Luhrmann's Elvis has dominated the Australian Academy of Cinema and Television Arts awards this week. The musical biopic won a total of 11 statues. But the wealth wasn’t completely hoovered up by the Memphis biopic, as some other uniquely Australian stories managed to pick up awards as well. The full results for film are after the jump…

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