‘Paris, 13th District’: Jacques Audiard Dreams Up A Millennial New Wave ‘Jules & Jim’ [Cannes Review]

Director Rachel Lang follows military couples in Our Men, an intriguing insight into French Foreign Legion life that closed the Cannes Directors’ Fortnight section. Lang herself graduated as Lieutenant from the French army, and served in the Sahel desert in 2017, so it’s fair to say she has more knowledge of this world than many filmmakers.

It’s not on the level of M*A*S*H or The Hospital, but The Divide (La Fracture) keeps you on your toes with its frenetic look at a besieged Paris emergency room hospital staff as, along with its regular patients, it tries to cope with the many people injured during a Yellow Vests protest that gets out of hand in late 2019.

There is a moment of genuine tension at the very beginning of Joachim Lafosse’s “The Restless” that is worth your attention. Damien (Damien Bonnard), is swimming with his son Amine (Gabriel Merz Chammah, the grandson of Isabelle Huppert, no less) off a boat on the rocky French coast.

Bruno Dumont’s peculiar blend of the transcendental with a clumsy kind of realism was a natural fit to “Jeannette” and “Joan of Arc,” both films dealing with the same presumed miracle — an ordinary little girl claiming to be guided by Saints.

Bruno Dumont uses a French anchorwoman to explore his country’s media in France, a Cannes Film Festival competition entry that’s glossy and watchable but ultimately disappointing. Léa Seydoux plays France de Meurs, a TV anchorwoman and reporter so famous that she stopped for selfies everywhere she goes, from cafes to war zones. After she is involved in a traffic accident, she quits her job and ends up in a Swiss spa, but the respite she meets there isn’t quite what she’d hoped for.

The eclectic veteran French director Jacques Audiard shifts gears yet again (his last feature was 2018’s unusual western, The Sisters Brothers) with Paris, 13th District (Les Olympiades), an adaptation of stories by the American comic book writer and artist Adrian Tomine.

quartier.We follow Emilie, played in a memorable debut by Lucie Zhang, who is third generation Chinese; the character works in a call center and lives in the apartment of her ailing grandmother, who is now in a nursing home.

Peter Debruge Chief Film CriticAmerican cartoonist Adrian Tomine uses the graphic novel to do what that other form of literature — the standard, gray-words-on-white-paper short story — simply hasn’t been able to achieve. Like any writer, he can go inside his characters’ heads, taking the X-ray of their most private insecurities and rendering it visible to the reader.

Kim Kardashian West admits that like a lot of people, she too had anxiety about reentering the world after quarantining at her home for so long. In a bonus clip for, the mother of four shares with Khloe Kardashian that isolating at her home amid the coronavirus pandemic impacted how she was recovering and coping after being robbed at gunpoint while in her Paris, France, hotel room in 2016. «I feel like I had agoraphobia definitely after my robbery in Paris,» Kim tells her sister.

Lea Seydoux won’t be in Cannes this year after testing positive for Covid-19 back on Saturday. The star is staying in Paris to serve her self-isolation and to do her “part to keep everyone safe and healthy”. She was asymptomatic following the initial diagnosis and tested negative the day after, on Sunday, but French rules mandate 10 days of self-isolation after a positive result.

Elsa Keslassy International CorrespondentLea Seydoux, one of France’s biggest stars who was expected to be the toast of Cannes with four films in competition, issued a statement on July 14 saying that she won’t be able to attend the festival as she is currently self-isolating after testing positive to Covid. “Sadly, I have to self-quarantine in Paris and won’t be able to attend the Cannes Film Festival this year.

Arnaud Desplechin returns to the Cannes Film Festival with Deception (Tromperie), a self-indulgent Philip Roth adaptation that’s only marginally better than 2017’s derided Ismael’s Ghosts. One of the late Roth’s most openly personal novels, it details a string of affairs conducted by Jewish-American writer “Philip,” here played by French actor Denis Podalydes, speaking French.

Video: Director Julia Ducournau returns to Cannes with mysterious new film ‘Titane’ (France 24)Spain's first heatwave of summer as temperatures reach 44 CCuba arrests activists as government blames unrest on US interferenceArmy's helicopter crews prepare Bastille Day celebrationsDeath toll in Iraq Covid hospital fire rises to 66, says health officialsAt leat 32 dead following unrest linked to Jacob Zuma's arrestCovid-19 cases are rising in some New-York's neighbourhoodsFrance's Macron addresses

Having been a mainstay of the Croisette for years and a Palme d’Or winner in 2015 for “Dheepan,” French filmmaker Jacques Audiard (“The Beat That My Heart Skipped,” “A Prophet,” both Cannes prize winners), is no stranger to the Cannes Film Festival. Since 2005, all of his films have debuted at Cannes save one (2018’s “The Sisters Brothers” that went to Venice).

July 12th, 2021, Cannes – Reader, I ratatat out this missive in haste on my trusty Smith-Corona from the South of France, in the paltry hopes it may adequately convey my delight in viewing the latest cinematographic marvel from Mr. Wes Anderson, originally of Houston, Texas but more latterly resident of a nearby color-coded, symmetrical nebula almost entirely of his own design.

CANNES, France -- A year after it was first to premiere at the Cannes Film Festival, Wes Anderson's “The French Dispatch" finally rolled into the French Riviera festival on Monday.Anderson and the large cast arrived on the Cannes red carpet in a bus, with a grinning Bill Murray sitting shotgun. The film, Anderson's elaborate and fanciful ode to The New Yorker, is perhaps the starriest ensemble playing at the festival this year.

If Wes Anderson hasn’t already been ordained as the king of twee, he certainly will be with The French Dispatch. There can never have been a film so entirely marked and dominated by preciously perfectionist compositions, arcane detail, meticulous camera moves, ornate décor, historical and design minutiae, styles of typography, precision diction, arch attitude, obsessive attention to cultural artifacts and loyalty to Oscar Wilde’s notion that art needn’t express anything other than itself.

Of the many films playing at Cannes which have gained in resonance since the coming of the pandemic, “Zero F*cks Given” from French duo Julie Lecoustre, and Emmanuel Marre does not represent the creepiest, most alarming kind of coincidence — that description would better fit “Benedetta” from Dutch master Paul Verhoeven, which features an actual plague, face coverings and quarantine measures.

A sweeping social protest met with utter chaos in an emergency room—especially to the American festival-goer at Cannes, this brief sounds like an unpleasant evocation of 2020. And indeed, filmed in the immediate aftermath of the gilets jaunes protests in France, Catherine Corsini’s “The Divide” (“La fracture”) both reflects the past year and eerily foreshadows the true disaster in emergency rooms that followed the events of the film.

France's most famous actors, may miss the Cannes Film Festival after testing positive for COVID-19.Seydoux has been fully vaccinated but she tested positive while working on a film, her publicist Christine Tripicchio confirmed Saturday. She is asymptomatic and isolating at home in Paris, hoping that negative tests on consecutive days could allow her to still attend the festival in the south of France.Seydoux was set to be one of the most ubiquitous stars at Cannes this year.