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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Cannes at Home: Day 8

by Cláudio Alves 

What an exciting day to be at Cannes this must have been. Asghar Farhadi unveiled a new picture to critical acclaim, with some even stating that A Hero is his greatest work since A Separation. In the main competition, Julia Ducournau also presented her sophomore feature, Titane. After Raw, the new film seems like it will continue the director's exploration on the limits of body horror. As for some sidebar prospects, Miguel Gomes opened his latest work in the Director's Fortnight. The Tsugua Diaries was co-directed with Maureen Fazendeiro and represents Gomes' first feature since Arabian Nights. Unfortunately, another project called Savagery remains incomplete since the pandemic forced the production to halt. In any case, for our homebound Cannes alternative, let's explore the past and best works from these filmmakers…

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Cannes Diary #06: Or, I Took the Night Off

by Elisa Guidici

Cannes partygoers watching the game on a phone -- photo vis Scott Feinberg's Twitter

Yes, I took last night off. I'm not exactly a socialite during festivals: I spend the majority of my time in screenings and what's left desperately trying to write as much as possible about the movies I saw. I really envy colleagues who are able to balance work and social life at a festival as it's a skill I completely lack.

Having said so, come on, European football championship finals with Italy against England: every other Italian journalist was planning to see the match. Poor Nanni Moretti, had to present his latest movie just one hour before the match. I spent the night at a local pub with a group of Italian colleagues, watching the match and having my first dinner actually seated at a table and not hiding somewhere near the press room eating a baguette-with-something since the very first day. And Italy won, so it was a beautiful night. And now my voice is almost gone.

And the movies, Elisa, the movies? Well, I saw only two movies, but one is the longest in competition, so...

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Cannes at Home: Day 7

by Cláudio Alves

Last year, while the Cannes Film Festival did not occur, the organizers revealed a list of titles selected. Wes Anderson's The French Dispatch was among them, and, unlike many other films slotted for the 2020 Croisette, it rescheduled all release plans so it could still premiere at the festival. After a one-year delay, it's finally upon us, and the reviews skew positive. Let's hope it's worth the wait. Another main competition title to take its bow today was Kirill Serebrennikov's Petrov's Flu. It's the Russian director's second film to compete for the Palme d'Or and his first release since a controversial conviction for embezzlement. Still banned from leaving Russia, he attended the festival by FaceTime. More on that later. For now, let's look back at these directors' previous successes – a bittersweet comedy on dysfunctional families and a galvanizing political allegory about modern Russia…

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Cannes Diary #5: Road trips through cinema

Do you know "Raul"? I don't and I never cease to be fascinated by this bizzarre Cannes Festival tradition. Sometimes, just before a press screening, someone screams "Raouuul!". No one seems to know why or when this phenomenon started, but the most seasoned journalists I know told me that the Raoul tradition started many, many years ago. Maybe I can just google it and find an answer but every person I ask about it has a different theory, so I'm enjoying the mystery. Anyway, on to today's three films...

Mariner of the Mountains  (Karim Aïnouz)
SPECIAL SCREENINGS

I took the ticket for the latest by the Brazilian director on a whim, because I woke up early that day and I really liked his previous feature, Invisible Life. I had read nothing about this one since sometimes I like to go in blindfolded. At first I was so confused by the form, a kind of infinite collage of short videos recorded with a smartphone and photos taken by Aïnouz himself during his first journey to Algeria...

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