In anticipation of the 2023 Cannes Film Festival, audiences can take a stroll with MUBI down the Boulevard de la Croisette and enjoy past favourites with the Cannes Takeover collection. Plus, stunning double bills by Ana Vaz and Ken Loach.
MUBI RELEASES
Friday, May 12
The Five Devils | dir. Léa Mysius, 2022
Vicky has a mysterious gift: she can recreate any scent she comes across, even that of her beloved mother Joanne (Adèle Exarchopoulos). When her estranged aunt suddenly returns to town, the invocation of her fragrance plunges the young girl back in time to unravel a past replete with family secrets and queer romance. (Trailer)
Thursday, May 25
The Potemkinists | dir. Radu Jude, 2022
In 1905, the sailors on the battleship Potemkin are given political asylum in Romania – an act of defiance against Russia. In 2021, a sculptor wants to create an artwork inspired by the event. This 18-minute, short film about art, history, memory and cinema won the Directors’ Fornight at Cannes 2022.
MUBI HIGHLIGHTS
Friday, May 5
Apollo 11 | dir. Todd Douglas Miller, 2019
This documentary looks at the Apollo 11 mission to land on the moon led by commander Neil Armstrong and pilot Buzz Aldrin. (Trailer)
Saturday, May 13
Requiem for a Dream | dir. Darren Aronofsky, 2000
Harry (Jered Leto) and his girlfriend Marion (Jennifer Connelly) dream of transcending their life of hustling and owning a store. While his mother is obsessed with TV and diet pills and envisions her chance to shine again on a game show. However, their dreams are shattered when their drug addictions begin spiralling out of control. (Trailer)
Sunday, May 14
Downtown 81 | dir. Edo Bertoglio, 2000
The film is a day in the life of a young artist, Jean Michel Basquiat, who needs to raise money to reclaim the apartment from which he has been evicted. (Trailer)
Sunday, May 28
Midnight Family | dir. Luke Lorentzen, 2019
In Mexico City’s wealthiest neighbourhoods, this documentary follows the Ochoa family, as they run a for-profit ambulance, competing with other unlicensed EMTs for patients in need of urgent care. In this cutthroat industry, they struggle to keep their financial needs from compromising the people in their care. (Trailer)
NEW + CONTINUING MUBI SPECIALS
CANNES TAKEOVER
Take a stroll with MUBI down the Boulevard de la Croisette and enjoy a few favourites from past editions of this annual, never less than glittering affair.
Titles:
May 17 – Butterfly Vision (2022)
May 18 – The Lunchbox (2013)
May 19 – The Killing of a Sacred Deer (2017)
May 20 – The Blackout (1997)
May 21 – Woman at War (2018)
May 22 – The Skin (1981)
May 23 – Hyenas (1992)
May 24 – Padre padrone (1977)
ARTIST IN FOCUS: ANA VAZ
This month, MUBI is proud to present a double bill, celebrating the work of experimental artist Ana Vaz. Her films explore intricate and powerful portraits of land, animals and people, both foreground narratives and perspectives that have been absent, or erased, from history – The Age of Stone (2013), a voyage into the far west of Brazil inspired by the epic construction of Brasília, and It is Night in America (2022), a wildlife eco-horror and nocturnal documentary that blurs the perspective of animals and humans.
Titles:
May 8 – The Age of Stone (2013)
May 9 – It Is Night in America (2022)
KEN LOACH: A DOUBLE BILL
A household name with more than five decades in film and television behind him, it would be tempting to think of Ken Loach as something approaching an institution in British cinema. Nothing would horrify the man himself more, given his dedication across those years to railing against all manner of hierarchical and structural injustice, both at home and abroad. Even now, in his mid-80s, Loach’s cinematic activism—much like his productivity—remains undimmed.
Titles:
May 6 – Jimmy’s Hall (2014)
May 7 – Black Jack (1979)
GILDED PASSIONS: FILMS BY MERCHANT IVORY
Known for their meticulous lyricism and literary qualities, Merchant Ivory productions are the crème de la crème of British cinema. Founded in 1961 by producer-directors Ismail Merchant and James Ivory, the film company is a multi-hyphenated affair. Echoing the diverse, transnational backgrounds of their creators, Merchant Ivory are drawn to stories about in-between experiences, and the boundaries of social class and financial wealth.
Titles:
May 2 – Heat and Dust (1983)
May 4 – The Bostonians (1984)
May 11 – Maurice (1987)
May 15 – Howards End (1992)
More on Mubi.com.
Pixar Animation Studios returns to the globally revered Cannes Film Festival for the world premiere of its all-new feature film “Elemental” on May 27, 2023 ahead of its theatrical release on June 16. Debuting out of competition as the closing film of the 76th edition of the festival, “Elemental” is the fourth film from the storied studio to be selected for the event and joins previous favorites “Up,” “Inside Out” and “Soul.”
Pete Docter, Pixar’s chief creative officer, said this year’s return to Cannes is particularly special for the studio. “As we all emerge from our pandemic cocoons and come together in story rooms, animation dailies and impromptu brainstorming sessions, it’s a joy and honour to have Pixar back on La Croisette,” said Docter. “Directed by the extraordinary storyteller Peter Sohn, ‘Elemental’ is so funny, full of heart and, frankly, stunning to see. It was created for audiences to experience on the big screen and I love that it’ll make its world premiere at Cannes.”
Docter, Sohn and producer Denise Ream will join members of the film’s voice cast at the event. Cannes has hosted the international competition since 1946. “For many years, the Cannes Film Festival has welcomed animated films from around the world,” said Thierry Frémaux, general delegate, Cannes Film Festival. “Pixar Animation Studios, with ‘Up’—directed by Pete Docter—made Cannes history by opening the 62nd edition of the Festival in 2009. It was a wonderful event! This is another great opportunity to present the amazing ‘Elemental’ on the closing of this 76th Cannes Film Festival and to think about our lives in such a powerful way.”
Disney and Pixar’s “Elemental” is an all-new, original feature film set in Element City, where fire-, water-, land- and air-residents live together. The story introduces Ember, a tough, quick-witted and fiery young woman, whose friendship with a fun, sappy, go-with-the-flow guy named Wade challenges her beliefs about the world they live in. The voice cast includes Leah Lewis as the fiery Ember; Mamoudou Athie as the water-guy Wade; Ronnie del Carmen as Ember’s soon-to-be retired dad, Bernie; Shila Ommi as Ember’s love-seeking mom, Cinder; Wendi McLendon-Covey as Wade’s stormy and Air-Ball-loving boss, Gale; Catherine O’Hara as Wade’s welcoming mom, Brook; Mason Wertheimer as Ember’s admiring neighbor, Clod; and Joe Pera as an overgrown city bureaucrat, Fern. Directed by Peter Sohn, produced by Denise Ream, p.g.a., and executive produced by Pete Docter, “Elemental” features a screenplay by John Hoberg & Kat Likkel and Brenda Hsueh with story by Sohn, Hoberg & Likkel and Hsueh. The film’s original score was composed and conducted by Thomas Newman. “Elemental” opens with Pixar’s all new short, “Carl’s Date,” in theatres on June 16, 2023.
Internationally renowned and leading Canadian production company Trio Orange in collaboration with Quebecor Content today announced Academy Award-nominated director Philippe Falardeau (Monsieur Lazhar, My Salinger Year, The Summers of the Raspberries) will present his new 4-part documentary series Lac-Mégantic: This is not an Accident at CANNESERIES 2023 as its world premiere, followed by its North American premiere at Hot Docs 2023 as part of the Deep Dive category. Directed and co-written by Falardeau with co-writer Nancy Guerin (Left Behind America, A Sister’s Song, Pink Ribbons Inc. ) and produced by Annie Sirois (Can you Hear Me?, Last Summer of the Raspberries, David Saint-Jacques Space Mission, Escobar Told By His Sons), Falardeau investigates one of the worst oil train tragedies in history; a foreseeable catastrophe ignited by corporate and political negligence. For more information on festival screenings please visit CANNESERIES and Hot Docs websites.
Almost ten years ago, on July 6, 2013, a devastating tragedy occurred in Lac-Mégantic, Quebec, when a runaway train derailed in the heart of this idyllic town. Within seconds, six million liters of Bakken oil explode, killing everyone in its path, incinerating downtown.
At the heart of this series are the survivors who share their most intimate stories of lost loved ones and the string of injustices they’ve faced since that summer night. Yet, the steps needed to prevent another Lac-Mégantic tragedy are still not in place.
“It was extremely important to me to give a voice and a face to the people of Lac-Mégantic who not only suffered a massive tragedy but have been reliving the trauma over the past ten years as the powers-that-be continue to make negligent decisions that affect their everyday lives,” said Philippe Falardeau, director and writer. “Unfortunately Lac-Mégantic is not an isolated event. Even though this tragedy shocked the world and prompted widespread calls for greater safety measures, current events show that little has been done to avoid these types of transportation disasters. Our series is a call to action to bring much needed attention and change in honour of all of those who lost their lives.”
Following its festival premieres, the French language version of Lac-Mégantic: This is not an Accident begins streaming May 2 on VRAI, with other broadcast announcements to follow. The series is Executive Produced by Carlos Soldevila and created with the support of SODEC Quebec, Quebecor Fund, Rogers Documentary Fund, Canada Media Fund.
Episode 1: Itinerary of a Moving Bomb
The citizens of Lac-Megantic share their harrowing accounts from that fateful night. The episode then flashes back to June 30, 2013, where a perfect storm brews as the ill-fated train leaves the Bakken oil fields of North Dakota. Six days later it is perched on a hill that overlooks the small lakeside town. Down on Main Street, the drinks flow as the crowd dances the night away, blissfully unaware that a runaway train just cleared four rail crossings and is closing in on Lac-Mégantic.
Episode 2: Pure Souls
As downtown burns, citizens search for the missing. The scope of the destruction is evident, but the cause will take time to figure out. Officials from all over descend on Mégantic but no one takes responsibility for what’s happened. Grieving families wait days, even weeks, to learn the fate of their loved ones. We meet the people who were close to the explosions. This proximity has a durable impact. For some, their lives have been turned upside down. But for others, it becomes a defining moment.
Episode 3: The Worst Is Yet To Come
Out on the tracks, locals take safety into their own hands as they patrol the rail lines that circle Mégantic. The rebuilding process rips the town apart as citizens are left to clean up the mess that they did not create. A criminal trial gets underway where three low-level train employees face life in prison. The larger picture begins to emerge. It points to a negligent corporate culture and a system that fails to go after the higher echelons even as their decisions cause great irreversible harm.
Episode 4: This Was No Accident
High up in the Canadian Rockies, tragedy strikes again, killing three railmen. Surging from this disaster lies another grieving community searching for answers. In Lac-Mégantic, plans for a bypass divide the town even further. The new route will split the family farm of Conrad and Yolande Boulanger whose grandson died in the Mégantic tragedy. Adding insult to injury, the new rails will accommodate longer and heavier trains arriving in record numbers, with cargo far more dangerous than crude oil.
By Amanda Gilmore
Coming off the success of Shoplifters, Writer-Director Hirokazu Kore-eda is back with another beautiful depiction of a chosen family.
So-young (Ji-eun Lee) makes the tough choice to leave her newborn at the Baby Box facility. It’s a place where people can leave their children in the hopes of them being adopted. However, Brokers Sang-hyun (Song Kang-ho) and Dong-soo (Dong-won Gang) make the decision to take the baby home with them in order to sell it to a loving family. To their surprise, So-young returns for her baby. When the two men tell her their plan, she joins them on their journey to find suitable parents.
Kore-eda has a keen eye for what makes a family. Just like Shoplifters, this is a story of making your own family. However, it’s also about knowing when to say goodbye. The premise doesn’t sound like it will be a heartbreaker, but Kore-eda’s empathetic eye makes this story a tender, emotional journey about belonging.
Just like the best Tearjerkers, Broker is laced with relatable Comedy. This humour comes from the relationship that flourishes between these characters. It all comes together once the three realize that a young boy from the orphanage they visited has snuck into their van. This is the start of their own quirky family beginning to grow. He’s a cute addition to this bunch and they fall into sync quickly.
Broker’s steady pacing allows audiences to get to know each character. We empathize with So-young, a woman on the run searching for a way out. What she finds instead, is a family that she didn’t know was possible. Lee stuns, giving depth to the textured So-young. One scene she shares with Gang takes place on a Ferris Wheel. The authenticity and chemistry between them is spellbinding. There won’t be a dry eye in the audience. While Kang-ho shines bright as the pseudo-father of this lovable dysfunctional family. He evokes the nostalgia for being the patriarch after his first family has cut ties.
Broker connects universally.
Broker screens at Cannes ’22:
Thu, May 26 at 7:00 PM at GRAND THÉÂTRE LUMIÈRE
Fri, May 27 at 8:30 AM at GRAND THÉÂTRE LUMIÈRE
Fri, May 27 at 9:30 PM at LICORNE
Sat, May 28 at 12:00 PM at CINEUM SCREEN X
Sat, May 28 at 7:15 PM at SALLE BAZIN
By Amanda Gilmore
Writer-Director Baz Luhrmann takes us on a dazzling ride with the Rock ‘n’ Roll legend.
The Film is told from the perspective of his manager Colonel Tom Parker (Tom Hanks). We are taken through the life of Elvis (Austin Butler) from his humble beginnings to his tragic early passing. Along the way we see the impact, Elvis has had on music, branding and more within the industry.
It comes as no surprise that Luhrmann is the perfect fit for bringing the flair and glamour of Elvis to the big screen. Luhrmann’s Filmmaking style is in full effect as we follow the young boy becoming one of the greatest musicians in history. Tom Parker tells the story of how he made Elvis famous. It’s an odd entry point to a story about the world’s best-selling Solo Artist, considering Tom Parker is believed to be one of the causes of his death. At times it feels like the story didn’t need this narration aspect. However, it serves as a way into the many themes Luhrmann and his Co-Writers Sam Bromell and Craig Pearce explore.
Although this is a story about Elvis, it touches on the Music industry as a whole. Particularly, the behind-the-scenes work. We get to watch as Elvis becomes the first Musician to make women’s emotions run rampant. These scenes are sprinkled throughout and are an absolute delight to watch. Luhrmann captures brilliantly how a little wiggle of Elvis’ hips made women to lose their minds. These moments work thanks to a breakthrough performance from Butler who literally disappears into the icon. Each of the performances throughout is perfectly edited by Jonathan Redmond and Matt Villa, bringing us right into the performance hall.
Further, we watch as Tom Parker was the first Manager to make merchandise for a Musician. Moments like this remind the audience of the impact Elvis had on the industry as a whole. To this day, he was the first to do what Musicians do today. Luhrmann uses non-Elvis Music in the Film to the same effect. There’s one music mash-up that combines Elvis, “Backstreet’s Back” and “Toxic”. Doing this works as a touching tribute to the effect Elvis has on musicians to this day.
At the centre of the story is the toxic relationship between Elvis and Tom Parker. It’s clear from the beginning that he doesn’t have Elvis’ best interests at heart. He looks at him as a bank that will spew-out money. It’s a rare antagonist performance from Hanks who excels as the controlling Tom Parker. He tells Elvis to stop hanging around with the Musicians on Beale Street, stop dancing suggestively on stage, and wear different clothes at his performances. This results in Elvis losing who he is and what made him so beloved.
We see Elvis struggle between who he is and who his Manager is trying to turn him into. It’s mesmerizing to watch Butler portray this legend. He perfectly shows Elvis’ the energetic, alluring performance side and the man off-stage. The one who was struggling with his identity and craved the love he received while on stage.
It’s great watching him alongside Olivia DeJonge who plays Priscilla Presley. These moments show how fame can come in-between what was actual love.
ELVIS showcases some of the greatest performances of the year, including a powerhouse performance from Butler, made glossy by the stylish finishes Luhrmann is known for. It’s a great time at the Cinema while touching upon important moments throughout history. It’s a reminder that Musicians have the ability to make positive changes both within their industry and socially.
Elvis screens at Cannes ’22:
Wed, May 25 at 6:45 PM at GRAND THÉÂTRE LUMIÈRE
While this might be our last day at the Festival, it certainly wasn’t our least! The Premiere for Baz Luhrmann’s ELVIS took place last night, and the Junket today. The Film not only received a ten-minute standing ovation, but above this, has received the approval of Elvis Presley’s family – and there can be no higher honour. Amanda tells us the Film is told more through the lens of Elvis‘ Manager Colonel Tom Parker, played by Tom Hanks.
From the junket for Baz Luhrmann‘s ELVIS:
And also Claire Denis’ STARS AT NOON, set in 1984 Nicaragua, about a Businessman and Journalist who find themselves in trouble and trying to escape.
Thanks for checking-out our coverage. Our Amanda Gilmore‘s thoughts on ELVIS here!
(Photo credit: Amanda Gilmore/Mr. Will Wong)
By Amanda Gilmore
Director Agnieszka Smoczynska’s latest is based upon the Novel written by Marjorie Wallace about real-life Welsh twins June (Letitia Wright) and Jennifer Gibbons (Tamara Lawrence), who were part of the only Black family in their small town. They would only communicate with one other. Thus, causing the community to believe something was wrong with them. When they grew-up, they were caught vandalizing and sent to Broadmoor, an infamous Psychiatric Hospital, where they face the choice to separate and survive or die together.
Smoczynska begins with the twins in childhood. It’s clear from the get go that the two have their own language. She captures their free spirited childhood, while alone together, through them hosting their own radio show together. These moments are captured with vivid lighting that gives everything a dreamlike appearance. However, Smoczynska and Cinematographer Jakub Kijowski retract these light purples, pinks, blues and yellows fade once someone interrupts their privacy. This becomes increasingly more clear when June and Jennifer are torn apart from each other.
When we are introduced to them as teens, we are brought into the world of adolescent coming-of-age. Both desire to become Authors. When Jennifer receives rejection letters, the two decide they need to live a little outside their shelter. Therefore, leading them into young romance. They fall for the same boy and subsequently go on a vandalism spree. They are in the time of their lives when they are experimenting. Even if the decisions they make lead them to dangerous situations, we empathize with them.
In the Final Act, the twins end up at Broadmoor. It’s here that we see the extent of their bond. When they are separated from the other they become catatonic. It’s as if they can’t survive without the other. The Silent Twins is one of the most beautiful depictions of sibling connection on-screen. This is aided by the formidable performances from Wright and Gibbons. They have an effortless chemistry and really delve into these women. They let us get close enough to understanding these twins.
The Silent Twins is a beautiful story about the bond between June and Jennifer Gibbons. It examines themes of otherness and belonging while being a critique on psychiatric facilities such as the infamous Broadmoor. Additionally, it’s a love letter to the twins. Smoczynska and Screenwriter Andrea Seigel go further than simply adapting the Novel. They use the journals from June and Jennifer to give us a deeper understanding of them. Smoczynska’s creative directing style brings these journal entries cinematically to the screen through dazzling recreations.
The Silent Twins screens at Cannes ’22:
Tue, May 24 at 7:45 PM at SALLE DEBUSSY
Wed, May 25 at 11:30 AM at SALLE AGNÈS VARDA
Wed, May 25 at 3 PM at CINEUM AURORE
Thu, May 26 at 4:15 PM at CINEUM SCREEN X
By Amanda Gilmore
Visionary South Korean Director Park Chan-Wook is back with this visually stunning romantic Thriller Noir.
After a man falls to his death from a mountain, Detective Hae-joon (Park Hae-il) meets his widow Seo-rae (Chinese Actress Tang Wei). She seems to be unaffected by the death of her husband. This causes suspicion amongst the detectives in the precinct. All signs point to her as suspect number one. But Hae-joon doesn’t believe that this mysterious woman could do such a thing. After stakeouts and an interrogation, Hae-joon becomes smitten with the mysterious Seo-rae. Now he must decide if his feelings get in the way of the investigation.
Decision to Leave starts out as a Detective Thriller and turns into something more heartfelt. In brilliant Chan-Wook style the edits and transitions are a visual feast for the eyes. Chan-Wook makes these transitions feel like they are one continuous take. They transport our detective into another scene that is playing out inside his mind. It’s a mesmerizing camera technique that is a delight to witness. There are shots that will dazzle and make any cinephile gasp.
The first half plays out like a gritty Detective Thriller Noir. Hae-joon is on a mission to find who threw this man off of the mountain. It seems like he found his prime suspect but her demeanour throws Hae-joon off. He finds this woman mesmerizing. The effect she has on him is paramount and the audience understands the emotion, thanks to the strong performance from Hae-il. He looks at her like she has all the answers in the world.
That’s when this noir turns into something more romantic. A blossoming relationship flourishes between the two. In lesser hands, this wouldn’t work. However, Chan-Wook excels in this storytelling. Seo-rae has clearly lived a difficult life. She’s been abused by her deceased husband. She carries this weight with her and it’s part of the reason Hae-joon falls for her. The audience is swept-away in this romance because of the chemistry between the two leads.
It’s in the second half when Seo-rae comes back into Hae-joon’s life that Chan-Wook’s intention comes through. This is a story about two people who fall in love in the oddest of circumstances. It’s about how far someone will go to protect the one they love. Wei’s performance is one of the best of the entire decade. It’s a special one that needs to be seen to be believed. She masters the art of mystery within her character. Although some would play Seo-rae as a psychopath, Wei grounds her. She’s a person who has never received real love and care until she met Hae-joon. Due to this, she will stop at nothing to feel it again.
Overall, Decision to Leave despite being a Thriller, also is tender and romantic. It has an insurmountable performance from Wei that will not be forgotten. Additionally, it reminds us that love is unexpected, needed and selfless.
Decision to Leave screens at Cannes ’22:
Mon, May 23 at 6:00 PM at GRAND THÉÂTRE LUMIÈRE
Tue, May 24 at 8:30 AM at GRAND THÉÂTRE LUMIÈRE
Tue, May 24 at 7:30 PM at SALLE AGNÈS VARDA
Tue, May 24 at 9:30 PM at LICORNE
Wed, May 25 at 9:30 AM at CINEUM IMAX
Thu, May 26 at 12:00 PM at CINEUM AURORE
By Amanda Gilmore
This latest effort from Auteur David Cronenberg takes place sometime in the future when the human species has adapted to a synthetic environment. In doing so, the human body undergoes new transformations and mutations. Saul (Viggo Mortensen) is a man whose organs metamorphosis. This leads him and his partner Caprice (Léa Seydoux) to put on performance art shows where she operates on him, removing one of these mysterious organs at a time. However, a mysterious underground group believe that Saul’s ever-growing insides might just be the next step toward evolution.
Cronenberg opens with a young boy searching the ocean as a rotted shipwreck is just off the coast. It’s clear something has happened to Earth due to climate change. His mother warns him to not eat anything he finds. From her urgent, disgusted tone it’s clear he does this a lot. Soon we watch as he eats a plastic garbage bin. It’s a powerful opening to a film that works best as a commentary on climate change.
The impact of this climate change has caused the human body to transform in order to survive. However, this has led the species to feel no pain. As mentioned in the Film, pain acts as a warning sign. This brings into question how one can survive without it. The hollowness that comes with these characters causes them to crave something to feel.
The surgeries, and performance art, act as a substitute for sex in Crimes of the Future. As Kristen Stewart’s character Timlin explains: “Surgery is the new sex.” Stewart steals the show with her portrayal of the mousey Timlin. Particularly, in her advances upon Saul. It’s a shame she’s underused. But this statement is true as we see when watching Caprice (a daring and captivating performance from Seydoux) perform the surgeries on Saul. The look of desire and lust spreads across her face as she controls the procedure.
This theme of sex throughout the Film directly correlates to the idea of reproduction that continuously comes up. The evolution of humans won’t happen if no one is reproducing. One scene has Caprice unzip a part of Saul’s stomach and perform what is akin to oral sex. It’s as though Cronenberg is asking: how will the human race continue if they don’t procreate? They can adapt all they want, but without procreating the species will cease to exist.
The stylistic world Cronenberg and his Production Design team have created brings us into this futuristic world. The bed Saul sleeps in resembles a cocoon. He eats in a chair shaped like a skeleton that constantly moves. When he’s getting operated on, the machine looks like he’s in an incubator. This world and Cronenberg’s vision are fully realized.
There are Subplots that Cronenberg explores in the Film. He touches on how the Government police human bodies. They don’t want the characters to stray from the natural transformation their bodies are going through. This is the significance and the young boy from the beginning and the underground group who are attempting to perform surgeries to progress the human body. This Subplot is an intriguing one and we wish we had more time spent to evaluate it.
Crimes of the Future does have its share of queasy moments, however, it might not be as nauseating as was promised. The gruesome aspects come from the operations Caprice performs on Saul. Although, even then these scenes aren’t horrific – unless you are terrified of organs. The brutal aspects come more from the child. These two segments of the Film aren’t for the faint of heart, but they do tie everything together.
Crimes of the Future screens at Cannes ’22:
Mon, May 23 at 9:30 PM at GRAND THÉÂTRE LUMIÈRE
Tue, May 24 at 12:00 PM at GRAND THÉÂTRE LUMIÈRE
Tue, May 24 at 7:00 PM at LICORNE
Tue, May 24 at 7:30 PM at SALLE BAZIN
Wed, May 25 at 12:30 PM at CINEUM IMAX
Thu, May 26 at 9:30 AM at CINEUM AURORE
The 2022 Cannes Film Festival might have started a week ago, but the excitement continues to build as David Cronenberg’s CRIMES OF THE FUTURE premiered tonight. In attendance were none other than Kristen Stewart, whom our Amanda Gilmore spotted at the Press Junket and Photo Call earlier in a pink Chanel suit. Also in attendance were Léa Seydoux, Scott Speedman and Viggo Mortensen.
The Horror centers on a Performance Artist couple Caprice (Léa Seydoux) and Saul Tenser (Viggo Mortensen), whom publicly showcase the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.
The Horror received both walkouts and a standing ovation, divisive as Cronenberg expected. CRIMES OF THE FUTURE arrives in theatres June 3, 2022 via Sphere Films.
Also spotted around town were Jamie Foxx, seen enjoying the French Riviera on a yacht.
Canada’s Nina Dobrev and Shaun White also were spotted around town at both the Top Gun: Maverick Premiere last week, and a Fundraiser for Ukraine, the With Love for Peace Gala.
Review here for CRIMES OF THE FUTURE.
(Photo credit: Amanda Gilmore/Mr. Will Wong)
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