‘Forever Young’ Review: Valeria Bruni Tedeschi’s Tempestuous Romance Is Passionate, But Remote [Cannes]

Menudo: Forever Young,” the HBO Max docuseries about the titular Latin American boy band, has been released.Directed by filmmakers Angel Manuel Soto and Kristofer Ríos, the four-part docuseries follows the rise of Menudo, a Puerto Rican musical group formed in 1977 by producer Edgardo Díaz that became one of the most popular boy bands in history, selling 20 million records worldwide during the 1980s. The series chronicles the group’s meteoric rise in the ’80s, and the fall it suffered during the ’90s, after sexual abuse allegations against Díaz surfaced.

Elsa Keslassy International CorrespondentParis-based sales company Charades has closed a raft of deals on “Forever Young,” Valeria Bruni Tedeschi’s film which competed at Cannes and earned a warm critical welcome. “Forever Young” opens at the end of the 1980s in Paris and follows a young troupe of comedians who have just have been admitted to Les Amandiers, the prestigious theater school headed by Patrice Chéreau. Bruni Tedeschi wrote the script alongside Agnès De Sacy and regular collaborator Noémie Lvovsky.

French actress Léa Seydoux is having a big moment right now at the 2022 Cannes Film Festival. Not only is she set to star in the latest film from director David Cronenberg, “Crimes Of The Future” (read our review), but she is also the lead in Mia Hansen-Løve’s “One Fine Morning” (read our review) But there is another project she is opening up about that she almost did.

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.

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.

Cristiano Ronaldo's girlfriend, Georgina Rodriguez, made her first public appearance since she and the Manchester United soccer star announced the death of their infant son. Rodriguez took to Instagram to share some snaps from the Cannes Film Festival in France.

2022 Cannes Film Festival, where Kaia Gerber and Austin Butler were in full PDA mode!The 20-year-old model and 30-year-old star walked the red carpet Wednesday for the world premiere of the Baz Luhrmann-directed biopic and didn't let the cameras deter them from showing their affection. In fact, it appears as if it was Gerber, looking stunning in a red gown, who grabbed Butler's face with both hands and planted a wet one on the budding actor.Once inside the theater, the audience got to enjoy the highly anticipated screening of the film set to be released June 24.

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.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

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.

Jessica Kiang There are no more potential-killing words of creative advice than “write what you know.” Certainly it’s a shame that when donning her screenwriter chapeau, Valeria Bruni Tedeschi — a fine actress and a director with a deft, light touch, especially with breezy character comedy — seems to have taken them so to heart. Once again she goes back to the autobiographical well for her latest directorial trifle, “Forever Young,” which she co-writes alongside Agnès De Sacy and regular collaborator Noémie Lvovsky.Once again the result is set in a rarefied world of which Bruni Tedeschi has intimate knowledge: this time the 1980s acting school run by the late French theater, opera and film director Patrice Chéreau.

Nick Vivarelli International CorrespondentWhen Italian-French actress and director Valeria Bruni Tedeschi was in her twenties she had the formative experience of attending the prestigious acting school at the Théâtre des Amandiers in Nanterre, France, led by late great auteur Patrice Chéreau. Her fifth directorial effort, “Forever Young,” which is in competition in Cannes, is a tribute to that time and, ultimately, to any young person’s passion for the theatre. Tedeschi spoke to Variety in Cannes about how she mixed remembrances and re-invention to make this film.

“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.

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.