Thankful for... Cláudio Alves!

This year for our "thankful for" column we're mixing it up a bit. Instead of asking our contributors to share a brief list of favourite things, I'm interviewing them so you can get to know them a bit better. We love them all, here, at TFE HQ and hope you do too. On Thanksgiving's Eve let's talk to our most frequent contributor, CLÁUDIO ALVES. 

Cláudio first joined us two and a half years ago and it makes all kind of sense that his first piece was on the potential of Oscar's costume design race of 2019. He blesses us with his expressive writing so often it's hard to choose favourites or even know where to point you but if you're just joining us but our most popular series, currently, is his "Almost There" column on performances that didn't quite win Oscar favor so start there! Other passions of his include film festivals and International Cinema and Hollywood History. Any links in this interview go to related beautiful pieces of his, too.

Here's our short interview...

When did you first fall in love with the movies?

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Cannes Diary #07: The French Dispatch, a Boomer, and a lot of "I liked it, but..."

by Elisa Giudici

Three Floors (Nanni Moretti)

Cannes Film Festival has a color coded hierarchy. The lowest of the low are Yellow pass holders. With their slightly less powerless Blue cousins, they spend a lot of time (aka hours) in queue, hoping for a miracle. Pink journalists arrive later, having a high priority pass that lets them sleep a little more. At the top of journalist hierarchy, the aristocracy of pass holders: legendary Le Blanche, aka White pass holders. They can arrive at the last minute, waving their credentials to open every door.

The tales say so though I've never witnessed this with my own eyes. This year, with the (still not that reliable but definitively improved) ticketing system, things were a bit different. Even I, a humble yellow pass holder, was able to see almost every single movie on my list. Here are the four competition films I saw today...

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