After nearly two weeks of amazing fashion on the red carpet at the 2012 Cannes Film Festival, the festival has finally come to an end.
22.05.2022 - 10:25 / variety.com
John Hopewell Chief International Correspondent“Bonnie is legendary for her boundless energy on the Crosiette,” AGC Studios head Stuart Ford said of his marketing head Bonnie Voland, whose 40th Cannes Festival was celebrated by Ford and friends at an elegant beachside cocktail on Friday evening.“This is my 15th Cannes with Bonnie Voland and I’m not sure I still have the energy to keep up with her,” he confessed in a speech in her honor at the cocktail.Voland has had a rich career to date, – she insists she’s certainly not done yet – graduating as a French major at Hunter College, and working as an actress in Paris before first attending Cannes in 1982 for Passion – The Magazine of Paris. She ran the Toronto Festival press office in the mid-eighties, then worked in Los Angeles for Samuel Goldwyn, Buena Vista International and Chris Blackwell’s Island Pictures, and created her own PR agency and consultancy B.
Voland International. She has worked with Ford for the last 16 years, first at IM Global and then AGC. Few like her combine her enthusiasm, energy and work ethic with a sense of fun, or can be so diplomatic.
After nearly two weeks of amazing fashion on the red carpet at the 2012 Cannes Film Festival, the festival has finally come to an end.
s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.
The stars of the new movie Elvis, directed by Baz Luhrmann, stepped out for a press conference and photo call at the 2022 Cannes Film Festival.
Directed by Louis Garrel, son of revered arthouse director Philippe, “The Innocent” is a quintessentially French comedy whose principle aim is to be a fun time. Though this may seem a relatively modest ambition, we all know it isn’t easy to do well, and Garrel certainly does not make things any simpler for himself as the film repeatedly leaves the realm of the bon mot to veer on the farcical.
“The Stars at Noon” finds the French filmmaker Claire Denis shooting in Panama doubling for Nicaragua; directing a cast of Yanks, Brits, and assorted Central Americans; and working from a script switching between Spanish and English. Internationally coproduced Towers of Babel such as this aren’t at all uncommon at the Cannes Film Festival, but the errors in translation all over this disappointing foreign-relations drama run deeper than simple differences of ethnicity or language.
Anne Hathaway is being crowned the haute couture queen of the Cannes Film Festival. And fans of the brunette bombshell are digitally reveling over the early-2000s diva’s fashionable resurgence. “Can we all take a moment to appreciate Anne Hathaway looking like a goddess in Cannes,” tweeted an admirer of the Oscar winner, alongside a snapshot of her in a sequin, floral-print two-piece ensemble by Schiaparelli. “I love this Anne Hathaway renaissance we’re going through,” chimed another. Making her debut at the annual silver screen soirée over the weekend, Hathaway, 39, repeatedly turned heads in high-fashion finery for the premiere of her feature flick “Armageddon Time,” starring Anthony Hopkins, 84, and Jeremy Strong, 43. And immediately after touching down in France on Wednesday, the blockbuster beauty transformed the Nice Côte d’Azur Airport into a virtual runway, sashaying through in a chic, loose-fitting pantsuit. From there, Hathaway ditched her trendy traveling togs to don a white strapless Armani Privé gown, reminiscent of her “Princess Diaries” glamor, on the film festival’s star-studded red carpet Thursday. The flawless fashion plate continued to outdo herself throughout the duration of the weekend, rocking a blue mini dress by Gucci Friday, stunning in a coffee-colored Louis Vuitton number Saturday and beaming in a hot pink piece by Valentino Sunday. And the luxe looks sent Hathaway enthusiasts into a full-on Twitter tizzy. “Anne Hathaway at the cannes film festival.
In the late 19th century, two French psychiatrists coined the term “folie à deux,” literally translated as madness for two, to describe what is now widely referred to as shared psychotic disorder, or when two — or more — people transmit delusional beliefs and occasional hallucinations to one another. The condition is most common in people closely related, who live in intimate proximity, and has been lengthily dissected by academics.
Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.
Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.
Pierre Lescure said at a packed farewell cocktail on Monday to Jerôme Paillard.Many will share Lescure’s sentiment. The drinks party was meant to be a farewell.
“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.