Review by Amanda Gilmore
Fashion Model-Celebrity couple Carl (Harris Dickinson) and Yaya (Charlbi Dean) are having problems…money problems. The main issue is that they have too much of it, which causes issues when it comes to bill time. The truth is, Yaya makes more than Carl but she’ll never pay. While in this rut in their relationship, Yaya’s influencer status gets them a free trip on a yacht. It’s there they meet their fellow uber-wealthy, upper-class, white privileged passengers. However, when they hit a stormy, turbulent night these rich elite are left stranded on an island.
Writer-Director Ruben Östlund’s latest is a biting, hilarious Satire on the privileged. He does this in three parts. The first is entirely focused on Carl and Yaya. As the bill sits on their table, Yaya becomes engrossed in her phone until Carl offers to pay. This results in one of the longest fights over money on-screen. Östlund, with the help of the brilliant Dickinson and Dean, creates an engrossing argument on Feminism and currency. It’s a hilarious section in this smart Film that sets the theme of money and hierarchy. Additionally, it shows a different side to Dickinson that allows him to show off his comedic side, which he excels at.
Once we arrive in the second part, we are introduced to a range of characters. Such as an elderly couple who sells grenades and Russian fertilizer magnate Dimitriy (played by the incomparable Zlatko Buric). It’s in this section that the majority of the hysterical moments happen. The things these characters say to each other and the staff on board (which resemble those from the Reality Show Below Deck) are shocking. It’s in this section that Östlund’s themes come through.
He touches on the privilege that comes along with having wealth in comparison to those who work on the yacht. The edits show the jarring difference in the lives of the passengers and employees. Triangle of Sadness through and through is a riot, however, there is one segment that remains a standout.
It takes place between the Captain (Woody Harrelson), a drunk who spends a lot of time in his cabin, and Dimitriy. As the yacht rocks during the Captain’s dinner and passengers are projectile vomiting everywhere (yes, there are some serious, although uproarious scenes in this second part) the two exchange quotes. Captain spews Socialism quotes while Dimitriy is an advocate for Capitalism. Harrelson and Buric are outrageously funny. Could easily watch them as these characters for days on end.
The Final Act of Östlund’s unmissable Satire has the rich stranded and incapable of providing the necessities to survive. Remember, they pay people to take care of them. But lucky, or unlucky, for them there is one capable crew member who survived — Abigail (Dolly De Leon). Onboard she was the cleaning manager but on this island, she becomes the boss. It’s a perfect way to sum up all of Östlund’s themes. Having the upper-class succumb to someone they believe is below them. De Leon not only runs the island, but she steals the entire third act and runs away with it.
Triangle of Sadness is unforgettable, nailing every beat and then some. The Ensemble Cast has impeccable comedic timing. This is not to be missed.
Triangle of Sadness screens at Cannes ’22:
Sat, May 21 at 6:00 PM at GRAND THÉÂTRE LUMIÈRE
Sun, May 22 at 8:30 AM at GRAND THÉÂTRE LUMIÈRE
Sun, May 22 at 1:00 PM at SALLE AGNÈS VARDA
Sun, May 22 at 9:30 PM at LICORNE
Mon, May 23 at 11:45 PM at CINEUM IMAX
Tue, May 24 at 9:30 AM at CINEUM AURORE
Review by Amanda Gilmore for Mr. Will Wong
This impressive First-Feature Debut by Co-Directors Riley Keough and Gina Gammell follows two Oglala Lakota boys on Pine Ridge Reservation in South Dakota. Bill (Jojo Bapteise Whiting) is a 23-year-old trying to make some money. When he finds an abandoned poodle, he starts his own dog breeding business. While Matho (Ladainian Crazy Thunder) is a 12-year-old desperate for his father’s approval. When the unexpected happens, Matho sees no other way but to follow in his father’s footsteps. Bound by their shared search for belonging, they grapple with identity, family, and loss, as they navigate their unique paths to manhood.
Keough and Gammell observe their endearing characters navigate reservation life. Although this is more of a character-driven piece, it’s more captivating than plot-focused narratives. Their two storylines give a ranged look at what these young men need to do to survive in a world that’s abandoned them. The Co-Directors use the two interlocking storylines as a way to give an authentic look into the lives of those on reservations.
Bill is a go-getter who’s trying to start his own business. His drive to succeed is infectious. Additionally, he’s a goofball who wants to get the mother of one of his children back. His endearing quality is that things never quite go right in his romantic life. Bapteise Whiting gives a star-making performance. We see the struggle he’s lived through, his desire to succeed and the bond that grows between him and his Poodle.
Matho’s story is much darker. He’s forced to act beyond his years due to his home life. He’s surrounded by a particular style of living and only wants his father’s approval. In seeking that, it backfires and his father kicks him out of the house. Forcing this 12-year-old to provide for himself, leads him right down the life his father led. Crazy Thunder gives a heartbreaking performance as the young boy who’s trying to find a way to survive.
The Co-Directors and Writers, with the help of Co-Writers Franklin Sioux Bob and Bill Reddy, bring in Native American beliefs through the use of the American Buffalo. The Lakota believe the American buffalo is a symbol that one does not have to struggle to survive if the right action is joined by the right prayer. The American buffalo is witnessed by both Bill and Matho at different moments. This, in addition to the editing by Affonso Gonçalves and Eduardo Serrano, brings these two young men together.
War Pony screens at Cannes ’22:
Sat, May 21 at 2:15 PM at SALLE DEBUSSY
Sun, May 22 at 8:30 AM at SALLE DEBUSSY
Sun, May 22 at 12:00 PM at CINEUM AURORE
Mon, May 23 at 11:30 AM at LICORNE
Mon, May 23 at 1:15 PM at CINEUM SCREEN X
Review by Amanda Gilmore for Mr. Will Wong
Adam (Tawfeek Barhom) has a close-knit bond with his family and community in his fishing village in Egypt. Everyone is happy for him when he gets the opportunity to ultimate privilege to study at the Al-Azhar University in Cairo, the epicentre of power of Sunni Islam. However, near the start of his education, the highest-ranking Religious Leader dies. Following his death, an informant for the Government is murdered on campus. Soon, Adam is brought in as a new informant and is at the centre of the religious and political elite.
Boy From Heaven is a tense thriller about the separation between religion and politics. We are thrust into this world where the Government is attempting to get a new religious leader who will be in their back pockets. Writer-Director Tarik Saleh does a great job of opening up this world for us. We understand the world and stakes. Additionally, he breaks down the lust for power the Government desires and the corrupt lengths they will go to get it.
The conflict throughout is immense. We have the societal aspect of it, where the country is wondering who will be their next religious leader. We have the Government attempting to gain control of their head of religion. We have those within the religion trying the best they can to expose the Government. And we have Adam, a young man who is forced to be an informant. The immense layers of conflict make for a riveting thriller.
What makes us invested in this story isn’t solely the conflict, but this young man we follow. We are invested in Adam from the beginning. He’s an innocent that has unfortunate luck and gets himself caught up in this spider’s web. Adam is an intelligent young man that has the ability to manipulate others into believing his deception. Additionally, he is a young man who is scared and desperately wants out of his situation. It’s a powerful performance from Barhom who is captivating throughout.
Boy From Heaven screens at Cannes ’22:
Fri, May 20 at 4 PM at GRAND THÉÂTRE LUMIÈRE
Sat, May 21 at 11:15 AM at GRAND THÉÂTRE LUMIÈRE
Sat, May 21 at 11:30 am at LICORNE
Sat, May 21 at 2 PM at SALLE AGNÈS VARDA
Sun, May 22 at 11:30 AM at CINEUM IMAX
Mon, May 23 at 9:30 PM at CINEUM AURORE
Thu, May 26 at 9:00 AM at ARCADES 1
Review by Amanda Gilmore for Mr. Will Wong
Scholar Alithea (Tilda Swinton) has always been content in her solitude. But that might change when she goes on a trip to Istanbul. While at a local shop, she finds a small glass vase. Back in her hotel, a fantastical being called a Djinn (Idris Elba) breaks free from that tiny vase. In return for his freedom, he offers Althea three wishes but they have to be her life’s deepest desires.
Visionary Writer-Director George Miller is back with this Fantasy-Romance Film. His style is on full display as we follow Alithea in her story which is told like a fairy tale. Three Thousand Years of Longing does carry a lot of narration. There’s the voice-over work from Alithea along with the stories Djinn tells of his prior failed attempts at freedom. Normally, this much narration would hinder a Film. However, Miller’s stylistic Direction makes it entertaining.
Through all of the visual spectacle found in Three Thousand Years of Longing, there is a tender story of finding love in unique circumstances. Additionally, Miller is telling a story about the importance of telling one’s life story. He does this through Alithea and Djinn. She is adamant she’s lived a life of pleasant solitude and doesn’t believe she has a deep desire. Instead, she takes an interest in Djinn’s three thousand years trapped by a magician’s curse.
It’s the stories Djinn tells that draw Alithea to him. Learning about his prior passions, heartbreaks and longings makes her fall for him. Swinton, as usual, is spellbinding. She brings a comedic layer to Alithea that resonates with the audience. Elba is the perfect choice as this Djinn yearns for freedom. He brings humanity to this fantastical being. The chemistry between the two gets stronger as the story progresses. This isn’t a fault, it’s a strength. It shows the progression in their feelings for one another.
Three Thousand Years of Longing has an important message on freedom and love: that it can’t be forced.
Three Thousand Years of Longing screens at Cannes ’22:
Fri, May 20 at 7:00 PM at GRAND THÉÂTRE LUMIÈRE
Say, May 21 at 6:30 PM at CINEUM IMAX
By Amanda Gilmore for Mr. Will Wong
EO is a donkey who is part of a circus in Poland. His owner Kasandra (Sandra Drzymalska) and himself have a strong bond. She protects him even if he is being used by the circus for profit. However, when the circus gets shut down, EO is placed in a new home out of reach from Kasandra. After she pays him a visit one night, he breaks the farm gate in search of her. Instead, he meets good and bad people, experiences joy and pain, and endures the wheel of fortune randomly turning his luck into disaster.
This is a moving Film with a powerful message. We watch as EO is being mistreated by everyone he interacts with on his journey. As we watch the world through his eyes, we see how the world is a torturous place for him. Even at the start, Kasandra does what she can to protect her beloved EO but he still suffers from the Circus owners.
However, the level of cruelty to animals escalates and deescalates throughout. There is one particular moment when EO is beaten by a group that was previously celebrating him. Even though the abuse is off-screen, Writer-Director Jerzy Skolimowski makes sure that each painful hit is felt. This makes for a painful viewing experience, but a necessary one. Even in moments when EO isn’t being used, he is hurt in other ways. Near the end, EO ends up on an estate with a Countess (played perfectly by Isabel Huppert) and a young priest (Lorenzo Zurzolo). Although they don’t intentionally hurt him, they neglect him. He doesn’t have any other animal companions and they don’t respond to his cries.
The situations that EO finds himself in reflect the cruelty of humans to animals. Each situation plays out as a mini-chapter in EO’s journey. They almost feel like their own individual Short Films. Yet, Skolimowski ties them together into a hero’s journey for his Donkey protagonist. EO even gets a shot to fight back and aide fellow animals being abused.
Additionally, it’s one of the most visually stunning films of the year. The Cinematography by Michael Dymek thrusts us right into EO’s view of the world. We see it for all its natural beauty and brutality.
EO screens at Cannes ’22:
Thu, May 19 at 10 PM at GRAND THÉÂTRE LUMIÈRE
Fri, May 20 at 11:30 AM at LICORNE
Fri, May 20 at 12 PM at GRAND THÉÂTRE LUMIÈRE
Fri, May 20 at 7 PM at SALLE BAZIN
Sat, May 21 at 11:30 AM at CINEUM IMAX
Sun. May 22 at 6:30 PM at CINEUM IMAX
Thu, May 26 at 11:15 AM at ARCADES 1
Review by Amanda Gilmore for Mr. Will Wong
Writer-Director James Gray’s latest is a semi-autobiographical story of a boy coming-of-age in New York during the ’80s. It follows Paul Graff (Banks Repeta) a sixth-grader in the early stages of rebellion who aspires to be an Artist. He befriends Johnny (Jaylin Webb), a black student who is constantly and unfairly being targeted by their teacher. When the two find themselves in trouble, Paul’s parents (Anne Hathaway and Jeremy Strong) refuse to let him see Johnny and subsequently move him to Private School. But will that be enough to separate their friendship?
Considering this is Gray’s most personal story, it doesn’t become self-important. Instead, he uses his childhood to touch on themes of racism and classism set against the rise of the Reagan era. Gray highlights inequity and Racism in institutions by showing how the public school Paul and Johnny attend mistreat Johnny. When Paul is the one doing something wrong, their teacher blames Johnny. Webb gives a powerful performance as a child who sadly understands that the world is stacked against him.
The Racism and Classism are further highlighted when Paul is sent to Private School. The family who funds the school is the Trump family, they even have Maryanne Trump (a delightful cameo from Jessica Chastain) come in to speak to them at an assembly. The students at the school use racial slurs and no one bats an eye. It’s a world that displaces Paul sending him on his coming-of-age journey. He needs to decide the type of person he wants to be: one who looks away or helps make a change. This is truly a star-making role for Repeta. He carries the weight of the Film on his small shoulders with ease.
Gray doesn’t back away from the darker sides in the depiction of his family. Paul’s family doesn’t believe they are part of the problem. However, they are because they don’t actively help and they believe the picture society has painted of minority groups. The only one who wants equality is his Grandpa Aaron (Anthony Hopkins). His closest relationship is with his Grandpa and the strong bond between Hopkins and Repeta makes for tender, teary-eyed moments.
Furthermore, Gray shows the darker side of his childhood. Moments where he gave his mother, Esther (Hathaway), a very hard time. Hathaway is brilliant as a mother who only wants the best for her child and will do anything to stand up for him. His most turbulent relationship is with his father Irving (Strong). One scene has a short-fused Irving beating Paul with a belt. However, there are tender moments where we see Irving change. It’s a difficult role that Strong truly excels in.
Paul is at the time in his life when friends become family. Maybe even more so for him because of his turbulent home life. Gray also doesn’t pull punches with the depiction of himself. Johnny is Paul’s best friend, however, when he goes to a new school he pushes Johnny away because of the other students. When Johnny asks him for a place to stay, he is reluctant because of how his family has spoken about him. Gray shows the faults in his actions, he owns up to them. And in return, we get to see how this young boy learned that he should and could do better.
Armageddon Time is a story about a boy whose family wants him to conform to the American Dream, but all he wants to do is rebel against that and forge his own path. Additionally, it’s a reminder how Racism is learned and institutionalized. However, it only takes one person to break that cycle.
Armageddon Time screens at Cannes ’22:
Thu, May 19 at 7 PM at GRAND THÉÂTRE LUMIÈRE
Fri, May 20 at 9 AM at GRAND THÉÂTRE LUMIÈRE
Fri, May 20 at 7:30 PM at SALLE AGNÈS VARDA
Sat, May 21 at 1:30 PM at CINEUM IMAX
Sun, May 22 at 9:30 AM at CINEUM AURORE
Thu, May 26 at 1 PM at ARCADES 1
Some snaps from the ARMAGEDDON TIME Press Conference with Strong, Hathaway, Gray and Repeta:
(Photo credit: Amanda Gilmore/Mr. Will Wong)
By Amanda Gilmore
The atmospheric God’s Creatures questions the lengths a mother will go to protect her son.
Aileen (Emily Watson) is delighted when her beloved son, Brian (Paul Mescal), surprises her with his return to their Irish fishing village, back from Australia. But when Aileen’s young 20-something Co-worker Sarah (Aisling Franciosi) accuses Brian of sexual assault, Aileen‘s world crumbles. She lies to protect her son because she doesn’t think he would be capable of something so heinous. However, when Brian begins acting differently than the boy she once knew she must confront the truth.
Co-Directors Saela Davis and Anna Rose Holmer have created an eerie atmosphere in this Irish village. Right from the start, we see the danger that comes with living near the rugged Irish coast. The unforgiving waves and forceful winds feel like warning signs. They mix these stunning shots with impeccable sound design, thrusting the audience into their whistling town.
A lot of the First Act is spent creating this atmosphere. Due to this, there are some slow moments but once we get into the heart of the story everything kicks into high gear. It’s clear something is off with Brian. One night after coming home from the pub, he has a creepy conversation with his ill grandfather. This moment works due to the textured, often chilling performance from Mescal.
The heart of the story asks an uncomfortable question: How far will a mother go to protect her child and at what cost? Watson is outstanding as Aileen. Her nuanced performance allows the audience to feel every emotion towards her. When she’s siding with her son we are angry. However, Screenwriter Shane Crowley infuses his Script with scenes that force Aileen to face the facts.
These moments touch on the depressing reality of what people actually say about sexual assault survivors. However, set in this tiny village each vile remark and action towards Sarah is magnified. Franciosi gives a strong performance as a woman who transforms completely in the aftermath of this trauma.
God’s Creatures screens at Cannes ’22 as part of the Director’s Fortnight:
Thu, May 19 at 8:30 AM at THÉÂTRE CROISETTE
Thu, May 18 at 8:45 PM at THÉÂTRE CROISETTE
Fri, May 20 at 2 PM at LICORNE
Fri, May 20 at 7 PM at ALEXANDRE III
Fri, May 20 at 10:45 at ARCADES 1
Fri, May 27 at 11 AM at THÉÂTRE CROISETTE
Festivities at the 2022 CANNES FILM FESTIVAL are taking flight, literally! TOP GUN: MAVERICK has brought Tom Cruise to the Festival and fighter jets leaving a trail in the colours of the French flag in the skies, got everyone pumped!
Cruise even got honoured with a surprise Palme d’Or for his contributions to Cinema, in addition to a ten-minute reel celebrating his carrer being shown. The Hollywood Megastar spoke at the Tribute held in his honour at Debussy Theatre, and our Amanda Gilmore was there.
Some key statements from Cruise at the In-Conversation.
On why Cruise wanted to get into acting.
Cruise: “I would save my money and go to the Movies. And, suddenly I am 18 years old … and suddenly I’m making Taps. I’m on a Movie Set for the first time. I’m 18 years old. It was my second audition and I got the role. I never went to a film school.”.
On Film Sets Being His Film School
Cruise: “I went to every department and studied every department. That has been my education throughout.”.
On Viewing a Film In Cinema
Cruise: “Cinema is my love. My passion. I sit in the audience with everyone…I come in early…I watch the commercials and trailers.”.
On Working with Cast And Crew Members
Cruise: “The best thing you can do is study every aspect of the art form. All of these elements and thing that we are striving for…I wanna hear your story what do you think this Movie is…I have to tell them this isn’t my Movie this is our Movie.”.
On Watching a Tribute Reel which Cannes Put Together of His Filmography
Cruise: “I have a thing where I remember every take. I remember everything. It’s wild seeing this reel by the way. It’s like your life in 10 minutes! It’s very trippy.”.
On Following Your Dreams
Cruise: “I was interested in adventure in life. It’s possible even if others said it’s impossible. I held onto my dream and thought maybe it is possible.”.
“It is better to create. Even if you fail. I always try to walk away with what I learned. It’s always better to go for it. Then to not do it. Ask the question and don’t be afraid.”.
Some highlights from the event:
Also, some sightings from the Premiere of Michel Hazanavicius‘ Zombie Comedy-Horror FINAL CUT.
Keep checking daily for updates throughout the Festival. Amanda‘s Review of FINAL CUT is here.
(Photo/video credit: Mr. Will Wong/Amanda Gilmore)
By Amanda Gilmore for Mr. Will Wong
Final Cut is a Zombie Horror-Comedy and a love letter to the challenges of Filmmaking.
It follows Remi (Romain Duris) a struggling Director who has only scratched the surface of Filmmaking. When he’s approached to make a French remake of a beloved classic Japanese Zombie flick, he takes the opportunity. Unbeknownst to Remi, he’s just accepted this most stressful directing gig. Not only does he need to shoot it in one take, as it will be viewed live on a new streaming platform, but he’s also dealing with jaded technicians and uninvolved actors. However, things get complicated when filming is disrupted by the real living dead. In front of the camera, everything looks relatively normal. But behind it, the crew is in chaos attempting to save the Film.
Writer-Director Michel Hazanavicius (Academy Award-winning The Artist) on one level brings us a new Zombie Horror-Comedy, yet transcends the limited audience of that genre by broadening it’s scope to explore the love and struggle of Filmmaking. It is apparent right away that Remi has a real passion for Filmmaking right at the start. This is a do-or-die situation for him and for anyone is all-in about their career, it’s easy to sympathize and relate. Duris is outstanding. His energy is unparalleled and he excels in this comedic performance. His natural charisma makes the audience cheer for him even if he’s ultimately making one of the worst Zombie films ever.
The Supporting Cast give hilarious performances. Bérénice Bejo plays Nadia, an Actress who takes her roles too seriously. She delivers some of the most outrageous one-liners with unwavering conviction, making for scene-stealing moments. Finnegan Oldfield plays Raphaël, an Actor who believes he’s better than he actually is. And rounding-out the Principal Cast is the brilliant Matilda Anna Ingrid Lutz. She might have the most challenging role as her character is a bad Actress. Her strong comedic timing makes her achieve this and her performance is a testament to how very talented she is.
Final Cut has an impactful opening and first act that leaves ample mystery. We are left wondering what is going on. Hazanavicius uses this as a device to grab a hold of us. In the middle, we are given some answers. Even though it’s in this section that the Film lags, Hazanavicius’ Script gives film references that true Cinephiles will get. In the final 30 minutes, we are given all the answers to our questions. The situations we watch this Cast and Crew get into are hysterical.
Fans of the original Japanese Cult Classic One Cut of the Dead, will get a reference that is highlighted at the midway mark. In this scene, Remi sits studying the original Japanese Film he is supposed to remake. Hazanavicius uses the original One Cut of The Dead that Final Cut is based on, making for a fun, meta homage to the cult classic.
Final Cut screens at Cannes ’22:
Tue, May 17 at 7PM at GRAND THÉÂTRE LUMIÈRE
Tue, May 17 at 11:30PM at GRAND THÉÂTRE LUMIÈRE
Wed, May 18 at 11AM at GRAND THÉÂTRE LUMIÈRE
Wed, May 18 at 2PM at SALLE AGNÈS VARDA
Thu, May 19 at 11:30AM at LICORNE
Thu, May 19 at 4PM at CINEUM IMAX
Fri, May 27 at 9:40PM at ARCADES 1
The 2022 Cannes Film Festival, now in its 75th edition, has officially begun and we’re so thrilled to be a part of the festivities this year! Our Amanda Gilmore is on-foot out on the French Riviera as the Festival runs today through May 28, 2022.
Canada certainly is making its presence felt and even has its own Festival Village! Canada Tent set-up, the Pavillion having been absent for two years. Our Country is represented by CRIMES OF THE FUTURE (David Cronenberg) – which also will be getting a Canadian Premiere in June at TIFF BELL LIGHTBOX – and FALCON LAKE (Charlotte Le Bon).
Academy Award winner Forrest Whitaker in addition to producing Documentary For the Sake of Peace, is receiving an honourary Palme d’Or as well. He says this is the first time he has ever felt internationally-recognized as an Artist!
The Festival’s Jury Conference featured some deep talent with names like Deepika Padukone, Rebecca Hall, Noomi Rapace, Jasmine Trinca, Asghar Farhadi, Ladj Ly, Jeff Nichols and Joachim Trier.
Some key quotes from the Panel conducted in both French and English. A recurring theme with the Jury is their humility and love of Cinema, helping spotlight talent versus “judging” and “critiquing”, which is refreshing.
Noomi Rapace: “It’s a dream come true. Thank you. Thank you for having me.”.
Rebecca Hall: “Not here was no hesitation it was obviously a tremendous honour.”. On bring a Juror, the Actress/Director says, “I don’t like the word judge…There is a huge responsibility, but also a creative responsibility.”.
Deepika Padukone: “We made a promise to each other that we won’t burden ourselves with the responsibility.”. The Bollywood icon tells the room, “Cinema is such a powerful tool and medium it has the ability to impact people’s lives.”.
Joachim Trier: “Together we will have some really interesting and difficult conversations.”. The Director of acclaimed THE WORST PERSON IN THE WORLD also reveals, “I’m looking forward to watching 21 movies.”.
Jeff Nichols: “I once waited tables at the American Pavilion and someone tipped me a ticket and I was blown-away by how beautifully this Festival honours Filmmakers.”. Nichols, excited like Trier about seeing some movies says, “I guarantee you I will watch every single one of these films with the same energy and awe as when I was 21. “.
A view of the Grand Auditorium Louis Lumière Red Carpet:
The famed Theatre Debussy Red Carpet:
TOP GUN: MAVERICK also will get is eagerly-awaited Premiere tomorrow night. See this amazing installation set-up to celebration the Blockbuster!
Bookmark this link and check daily as we will be bringing you your latest Reviews from Cannes!
So excited to deliver you our coverage on the world stage!
(Photo credit: Amanda GIlmore for Mr. Will Wong)
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