AMC-Backed ‘Cannes Confidential’ TV Series Starts Production Ahead of Fest (EXCLUSIVE)

“The Five Devils,” from French director Léa Mysius, captivates from its very first seconds. We see Adèle Exarchopoulos in a sparkling gymnast outfit with other similarly dressed girls, all watching an enormous fire in the background; when she turns around, she is crying — fire, beauty, passion and death all conveyed in one image.

Alessandra Ambrosio has been making the most of her time in Cannes. The Brazilian supermodel is a big fan of the film festival, enjoying its luxurious and elegant ambiance and the opportunity to wear bold and innovative looks. She shared some photos on her Instagram, stunning her followers.Brazilian model Alessandra Ambrosio & her most stunning Cannes looksBrazilian model Alessandra Ambrosio looks like a vision wearing a plunging dress in CannesA post shared by Alessandra Ambrosio (@alessandraambrosio)“Heure d’or,” she captioned the post, referring to the golden hour in display in the photographs.

The films of French filmmaker Quentin Dupieux are at their best when they combine his penchant for ludicrous but simple what-if scenarios, with his perceptive eye for humor in everyday life and banal interactions. He would probably hate his cinema to be pinned down in this way: though he has proven that he can subscribe to straightforward storytelling with “Deerskin” (which premieres at Cannes in 2019) and “Incredible But True” (Berlinale 2022), the French director and absurdist also enjoys leaving the demands of logical plot developments behind in favor of a freer style.

French writer/director Alice Winocour was interested in the connection between the body and the mind before it was cool. Her feature debut “Augustine” (2012) told the story of a supposedly “hysterical” woman and her doctor in 19th century France, while “Disorder” (2015) centered on a soldier-turned bodyguard suffering from PTSD.

“When you want to film a fire, you need to be in the place where the first flame is produced.” So says the disembodied voice of Patricio Guzmán as he recalls a piece of advice received early in his filmmaking career by his mentor, French multimedia artist Chris Marker. In this case, the fire is the Estallido Social, a series of colossal protests and riots that started in the capital city of Santiago and rapidly spread across Chile at the end of 2019.

Anne Hathaway is channeling one of her most iconic characters. On Thursday, the 39-year-old actress stepped out for a screening of her new flick, , at the 2022 Cannes Film Festival, and gave off serious Mia Thermopolis vibes.Hathaway stunned on the red carpet in a custom, white Giorgio Armani Privé gown that included a train and oversized bow.

EXCLUSIVE: As Roman Abramovich-backed Tchaikovsky’s Wife unspools this week at the Cannes Film Festival, the French Ministry of Economy and Finance has clarified its position regarding movies backed by sanctioned oligarchs.

The 2022 Cannes Film Festival opened amid concerns around journalistic independence. Now there are concerns regarding jury independence.

It’s hard not to sound like a cynical, world-weary film critic when complaining about seemingly small things such as the way many independent French dramas these days open with a sequence showing people fighting and shouting at each other. But the technique of stunning the audience and capturing their attention with a loud, conflictual scene is becoming a tired trope that, if filmmakers aren’t careful, can seem more like a superficial shortcut to gritty realism than anything truly rooted in the characters’ reality.

cast landed on the red carpet in style at the 75th Annual Cannes Film Festival on Wednesday. The spectacle began with the celebrated arrival of superstar Tom Cruise, who greeted cheering fans at the Palais before walking down the red carpet with co-star Jennifer Connelly. Cruise and Connelly were also joined by fellow co-stars Jon Hamm, Miles Teller, Glen Powell and Jay Ellis. The cast's arrival was made even more memorable when an eight-jet flyover released smoke in the colors of the French flag over the event.

Adriana Lima always turns heads on the red carpet, and thepremiere during the 75th annual Cannes Film Festival was no different.On Wednesday at the Palais des Festivals in Cannes, France, the 40-year-old pregnant supermodel stepped out in a floor-length, long-sleeve black gown that had a cut-out to showcase her growing baby bump. She paired the eye-catching gown with strappy high heels.By her side was her boyfriend and father of her child, film producer Andre Lemmers, who cradled Lima's bump while posing for photos. This will be Lima's third child, as she is also mom to daughters Valentina, 12, and Sienna, 9, whom she shares with ex-husband Marko Jarić.Last month, Lima and Lemmers announced the sex of their first child in a video posted to TikTok.

Not quite a musical, sort of a folktale, and almost but not entirely a hardscrabble hunk of post-war realism before all of a sudden changing gears, “Scarlet” – which opened the 2022 Cannes Film Festival’s Directors’ Fortnight sidebar on Wednesday – is a tricky project to pin down. Of course, director Pietro Marcello wouldn’t have it any other way.Shooting in French for the first time, the Italian filmmaker made his name with documentaries before working found and historical footage into the world of make-believe with 2019’s “Martin Eden.” With this more ambitious (if more uneven) follow-up, Marcello continues at a similar pace, folding fact into fiction as he explores both the landscapes of rural Normandy in the aftermath of the First World War and the plight of the working poor, all through the crags of his leading man’s brow.That brow (and those crags) belongs to Raphael (Raphaël Thiéry), who we discover limping home from the front interspersed with historical footage of fellow soldiers doing the same.

Two years in France inspired Italian director Pietro Marcello to create “Scarlet,” his French-language feature debut and the opening film of this year’s Directors’ Fortnight at the Cannes Film Festival. Freely inspired by Aleksandr Grin’s tale “The Scarlet Sails,” the film examines the quiet tenderness that permeates the relationship between a father comfortable in skepticism and a daughter driven by unshakeable belief.

Ever since Michel Hazanavicius’ Oscar-winning tribute to silent cinema “The Artist,” the French filmmaker has continued to focus his work on the process of filmmaking itself, for better and, mostly, for worse. After “Redoutable,” centered on the relationship between Jean-Luc Godard and Anne Wiazemsky during the filming of “La Chinoise,” he again explored la magie du cinéma in “The Lost Prince,” where Omar Sy (the biggest star on French Netflix and, maybe, in French cinema tout court) saw the rich fantasy film-set world he had created for his daughter begin to crumble as she started to outgrow his fairytales.

Brent Lang Executive Editor of Film and MediaIFC Films has acquired North American rights to “R.M.N.,” the new film from acclaimed writer, director and producer Cristian Mungiu, ahead of its world premiere in Cannes this week.It’s a grand reunion for the indie studio and the director, marking their fifth distribution collaboration. IFC Films will release “R.M.N.” theatrically in 2022.

Long a bastion of artistic freedom, the Cannes Film Festival has a secret: it censors interviews with festival head Thierry Frémaux.

Leo Barraclough International Features EditorLeading arthouse sales company The Match Factory has acquired distribution rights to murdered Lithuanian filmmaker Mantas Kvedaravičius’ documentary “Mariupolis 2,” ahead of the film’s premiere next week at the Cannes Film Festival as a Special Screening.Kvedaravičius was captured and murdered by the Russian army in Mariupol, Ukraine in early April. The film was co-directed by Kvedaravičius’ fiancée Hanna Bilobrova, who was with him at the time of his death, and was able to bring back the footage filmed there, and edited it with his editor Dounia Sichov.The Match Factory worked with Kvedaravičius on his debut feature “Barzakh,” which played in the Berlinale in 2011.