74th Cannes Film Festival rolls out red carpet
The Cannes Film Festival has rolled out the red carpet for the first time in more than two years, 開始する，打ち上げるing the French Riviera みごたえのある with the 首相 of Leos Carax’s Annette.
Spike 物陰／風下’s 陪審／陪審員団 was also introduced as the 74th festival began まっただ中に high hopes of shrugging off a punishing pandemic year for cinema.
Annette is a fantastical musical starring Adam Driver and Marion Cotillard, and 得点する／非難する／２０d by the musical 二人組 誘発するs.
The 開会式 also returned last year’s Palme d’Or 勝利者, Bong Joon 売春婦 (for Parasite) and Jodie Foster, who first （機の）カム to Cannes as a 13-year-old with ツバメ Scorsese’s Taxi Driver, for an 名誉として与えられる Palme.
The occasion drew a wide spectrum of film luminaries 支援する to Cannes to celebrate the festival, which was cancelled last year 予定 to the Covid-19 ウイルス.
Pedro Almodovar, Jessica Chastain, Dame Helen Mirren and Bella Hadid walked the red carpet, which was again lined with photographers and eager onlookers.
“So it feels good to go out,” said Foster in French.
“Vive la フラン!” 宣言するd 物陰／風下.
The festival was 公式に 宣言するd open by Bong, Almodovar, Foster and 物陰／風下, in a mix of Korean, Spanish, French and English.
Over the next 10 days, the Cannes Film Festival will try to resuscitate 全世界の cinema on a grand 規模.
Cannes has 押し進めるd ahead in much its usual form, with splashy red-carpet 陳列する，発揮するs and a line-up of many of the world’s most 深い尊敬の念を抱くd filmmakers, 含むing Asghar Farhadi, Wes Anderson, Mia Hansen-Love and Paul Verhoeven.
Festivalgoers are 実験（する）d every 48 hours, seated shoulder-to-shoulder and masked for 審査s.
物陰／風下, who is 長，率いるing the 陪審／陪審員団 that will decide this year’s Palme, arrived earlier in the day wearing a “1619” baseball hat and trying to keep a low profile.
“I’m not trying to be a hog,” he said to reporters, 勧めるing them to ask his fellow 賠審員s questions.
But 物陰／風下’s presence was hard to ignore. Hi s 直面する as 火星 Blackmon from his 1986 feature film debut She’s Gotta Have It (which 首相d at Cannes) adorns this year’s poster at the festival central 中心, the Palais des Festivals. 物陰／風下 is the first 黒人／ボイコット person to ever lead Cannes’ prestigious 陪審／陪審員団.
In his first comments, in 返答 to a question from Chaz Ebert, 未亡人 of Roger Ebert, 物陰／風下 spoke about how little has changed since 1989’s Do The 権利 Thing ? which made a 議論の的になる debut at Cannes.
“When you see brother Eric 獲得する, when you see king George Floyd 殺人d, lynched, I think of Ray (無線で通信する) Raheem,” 物陰／風下 said, referring to the Do The 権利 Thing character.
物陰／風下 said that after more than 30 years, you would “think and hope that 黒人／ボイコット people would have stopped 存在 追跡（する）d 負かす／撃墜する like animals”.
Much of the talk on Tuesday at Cannes centred on 不正 and 生き残り. That the festival was even happening, after last year’s 版 was cancelled, was a surprise to some.
Maggie Gyllenhaal, who will see the 24 films in 競争 for the Palme as a member of the 陪審／陪審員団 over the next 12 days, said it will be her first time in a movie theatre in 15 months.
When Parasite actor Song Kang 売春婦 was 招待するd to be a 賠審員, he said, “I thought: Will there really be a festival?
“The fact that we’re here today, it’s really a 奇蹟.”
Still, much of the usual pomp is トンd 負かす／撃墜する this year. There’s a 親族 dearth of 昇進／宣伝 up and 負かす／撃墜する Cannes’ oceanfront promenade, the Croisette, and Hollywood has いっそう少なく of a 役割 than in years past.
One of the 賠審員s, Brazilian director Kleber Mendonca Filho, 追加するd that in some parts of the world, cinema is under 包囲.
In 大統領，／社長 Jair Bolsonaro’s Brazil, he said, the 国家の cinematheque has been の近くにd and its staff 取り去る／解体するd.
“This is a very （疑いを）晴らす demonstration of contempt for cinema and for culture,” said Filho, who 公式文書，認めるd the 悲劇 of Brazil reaching 500,000 dead from Covid-19 when, he said, many thousands could have been save d by a stronger 政治の 返答.
That conversation was 誘発するd in part by a Georgian 新聞記者／雑誌記者, who asked 陪審／陪審員団 members about 抵抗. Russia 侵略するd the former Soviet 共和国 in 2008.
“The world is run by ギャング（個々）s,” said 物陰／風下, 名簿（に載せる）／表（にあげる）ing former US 大統領，／社長 Donald Trump, Bolsonaro and ロシアの 大統領，／社長 Vladimir Putin.
In that 状況, the 正規の／正選手 topics of 関心 at Cannes were perhaps dwarfed.
But the 賠審員s made 熱烈な 事例／患者s for the 未来 of movies ? and a more inclusive 未来. This year’s 競争 line-up 含むs a Cannes-high four 女性（の） filmmakers, but they are still a fraction of the 24 filmmakers 争う for the Palme.
“I think when women are listening to themselves and really 表明するing themselves, even inside, about a very, very male culture, we make movies 異なって. We tell stories 異なって,” said Gyllenhaal.
She 解任するd watching Jane Campion’s The Piano (the only film directed by a woman to ever 勝利，勝つ the Palme) as formative and unfiltered. “It just went in straight.”
The rise of streaming also took the スポットライト. Cannes has 辞退するd to select films without French theatrical 配当 for its 競争 line-up.
The festival and Netflix have been at 半端物s for several years.
On Monday, Thierry Fremaux, the festival director, 特記する／引用するd Cannes’ 記録，記録的な／記録する at discovering filmmakers and asked: “What directors have been discovered by (streaming) 壇・綱領・公約s?”
物陰／風下, who made last year’s Da 5 血s for Netflix, hardly batted an 注目する，もくろむ when asked about the 支配する.
“Cinema and 審査 壇・綱領・公約s can coexist,” said 物陰／風下, who called Cannes “the world’s greatest film festival”.
He 追加するd: “At one time, there was a thinking that TV was going to kill cinema. So, this stuff is not new.”
