Well, I’m almost there, writing this on the flight, but the trials and tribulations have already started. And the controversies too.
No Access
You may have read the updated statement one hundred plus of us signed as film journalists just before the festival kicked off. And if you haven’t, here it is published in full, including our signatures, and context on The Hollywood Reporter. It’s a crisis year again and although Thierry Fremaux may feign ignorance or promise us this edition is going to be better, more access, less hassle, it’s all the same merry-go-round all over again. Actually, when I glanced at the press list for the year, it’s so long and outrageously biased — some publications have three or four journalists doing what I basically do as one, with worse-rated credentials than theirs — that I cannot believe I’ve managed to secure as many screening tickets as I have. Or actually booked three or four important interviews.
But, and I quote shamelessly Britney Spears once again, “I’m not that innocent.” Because instead of complaining and going to Cannes and Venice year after year, spending outrageous amounts on food and lodgings, we journalists should stick together and boycott festivals until things get better. And if they don’t get better, we should stand on the side of the river, as my grandfather Ettore used to say, and watch the whole tired institution of film festivals go down, in a pile of smoked film reels, used up and never watched. I paraphrase of course, his statement was much more dramatic and to the point — he was Neapolitan after all.
We have in Marco Consoli, an Italian freelance journalist who is well respected and well published, a ringmaster, a suffragette(r? for masculine) and a spokesperson, who champions this cause tirelessly. But nothing is going to change, in this age of AI, where everyone was falling all over themselves publishing themselves in the Studio Ghibli likeness, without thinking twice that decades of work by Hayao Miyazaki were being wiped out in a Facebook minute. AI and TikTok have started to erode the last semblance of culture we had left. After that, good luck to us.
Without even having stepped foot in Cannes, I’ve had interviews confirmed then cancelled, because the filmmaker doesn’t want to talk to press, well not this press anyway, and then, the lead actor’s “people” cancelled because he wants to do American press for the US release. Problem is, the film I’m talking about ain’t gonna have a US release, pardon my Southern, if no one from the States talks about it in a caring and glowing way. It’s a beautiful film, but with all the films in Cannes this year, it’s going to get lost in the shuffle.
But then again, so am I, after I disappoint my LA editor once again, cancelling a piece I’d pitched with care and he approved with enthusiasm, and this after the fiasco of Venice 2024 — won’t get into details but let’s just say Alfonso Cuarón is persona non grata in my book. To be honest, I probably won’t have a writing job there after this. So, score one for the festival, which doesn’t care for serious, deep features journalism from writers who love cinema and only looks at publications that review films (even negatively, to destroy them) or clickbait headline medias that publish what celebrities are wearing when they arrive at Nice Airport. Oh, pardon, I meant Côte d’Azur airport. Same old festival, new airport name.
While I’m on the subject, I want to say something good about publicists from the UK, who are always respectful and kind and organized. I left the US because of the way things were done there, more than 10 years ago, and I am sad to see nothing has changed. Publicists who send you movies they want you to talk about and don’t agree to the interviews you really want, but instead of coming right out and telling you “no” they skirt the issue until you just give up.
No Nudity
New rules are also being implemented for the dress code on the red carpet. In past years, women in particular have pushed the envelope on skimpy and have worn long trains to attract the eye of the photographers, who are always the stars of Cannes. And should be for the work they do and how they stand in the inclement weather for hours on end to get the perfect shot!
The rules read: “For decency reasons, nudity is prohibited on the Red Carpet, as well as in any other area of the Festival. Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater are not permitted.” In this new environment, the good news is that flat shoes and dressy trousers with a top are allowed as a red carpet look, though sneakers are out.
Of course, Bella Hadid showed up with brand new golden extensions, and a risqué dress that walked the thin line between dressed and naked. And good for her for doing it her way.
Halle Berry admitted at the press conference for the Competition jury that she had a dress with a train, and switched outfits only to end up looking a bit too casual on the red carpet. Some people called it “frumpy” I’m just going to call it afternoon-worthy, not really red carpet stuff. Berry is always gorgeous anyway and I look up to her as a role model of growing up gracefully. But not without a fight!
No Politics
Another rule is that politics should remain off the red carpet and the stages of the various venues inside the Palais and dotting the Croisette this year. Of course, the opening ceremony was dotted with Trump references, and mentions of Ukraine. Juliette Binoche, this year’s Competition Jury President, mentioned the death of Fatma Hassona, whose film Put Your Soul on Your Hand and Walk is screening in the ACID section and who was killed in an Israeli airstrike. But Binoche failed to say who was responsible for the murder and that silence has been a constant in present times as far as Palestinians are concerned.
Good stuff, no nonsense
The good news for this weary journo is that Paramount is doing things right and taking a lot of us Golden Globes voters to a special IMAX screening of the new Tom Cruise starrer Mission: Impossible — The Final Reckoning, complete with, I’m hoping, popcorn at the seats and some drinks to kick off the evening. And that, folks, is how things should be done. Always classy at Paramount! And in Cannes, there are fighter jets above already, a sign megastar Cruise has arrived.
All images courtesy of the Festival de Cannes, used with permission.