Steve McQueen on His 4-Hour Documentary Epic ‘Occupied City’ and How It’s Informing His Apple TV+ Movie ‘Blitz’

Documentary fans might be forgiven for nurturing a dream – that Cannes would follow the recent example of Venice and Berlin and award its top prize to a nonfiction film. Complete the documentary Triple Crown – the Golden Lion, the Golden Bear and the Palme d’or.

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Manori Ravindran Executive Editor of International Jonathan Glazer’s Nazi drama “The Zone of Interest” has sold into major international territories following its buzzy Cannes world premiere. The film centers on the family of a high-ranking SS official that lives next door to Auschwitz concentration camp. The pic has sold into: Austria and Germany (Leonine), Benelux (Cineart), France (BAC), Greece (Spentzos), Italy (I Wonder), Japan (Happinet Phantom Studios), Scandinavia (SF Studios), Spain (Elastica) and Switzerland (Filmcoopi). In Poland — a significant sales market for the film given it is set there — Gutek has come on board as distributor. (A24 was selling worldwide rights for the film, but did not handle the Polish sale.)

Manori Ravindran Executive Editor of International Rebel Wilson has revealed that she auditioned for the next James Bond movie after producers Barbara Broccoli and Michael G. Wilson saw her host the 2022 BAFTA Film Awards. The “Pitch Perfect” star is currently at the Cannes Film Festival to launch her directorial debut, “The Deb,” a big-screen adaptation of the titular Australian musical comedy. Variety caught up with Wilson to discuss her turn in the director’s seat, and reflect on her no-holds-barred hosting duties at the BAFTAs, where she roasted Britain’s Royal Family. Wilson explained that she had to clear some Bond-related jokes with the producers ahead of the awards, which put them in direct contact and ultimately led to an audition.

Manori Ravindran Executive Editor of International Wim Wenders’ “Perfect Days” is a hot property in Cannes, and it’s yet to even premiere. Several buyers are currently circling the Japan-set, music-infused title from master filmmaker Wenders, which bows in competition on Thursday. Sources tell Variety that interested parties so far include Utopia, MUBI, Magnolia, Sideshow and Janus Films and Sony Pictures Classics. Wenders’ “Perfect Days” follows Tokyo toilet cleaner Hirayama, who seems content with his simple life. Outside of his everyday routine, he enjoys his passion for books and, in particular, for music. Over the course of the film, a series of unexpected encounters gradually reveal more of his past.

Manori Ravindran Executive Editor of International Neon has acquired Justine Triet’s Hitchcockian courtroom drama “Anatomy of a Fall.” The U.S. distributor has been “aggressively pursuing” the competition title, which premiered in Cannes on Sunday to rapturous reviews, and has beat out competition. In the 150-minute film, a frustrated writer dies of suspicious causes, leaving behind clues that implicate his wife (Sandra Hüller) of his murder. Much of the film is focused on the ensuing trial, and features German star Hüller, known to international audiences for “Toni Erdmann,” delivering a powerhouse performance as a woman fighting to clear her name while protecting the couple’s young son. (Hüller previously teamed with Triet for psychological drama “Sibyl,” which also competed for the Palme d’Or at Cannes in 2019.)

Manori Ravindran Executive Editor of International In Britain, schoolchildren learning about Tudor history are taught a handy rhyme to remember the order of King Henry VIII’s six wives: “Divorced, beheaded, died. Divorced, beheaded, survived.” Hollywood has for decades been transfixed by the “beheaded” and “died” bits — essentially, the stories about women suffering — but what moviegoers are rarely reminded of is the wife who outlived Henry. In Karim Aïnouz’s hotly anticipated “Firebrand,” it’s the notorious Tudor king’s final companion, Katherine Parr, who finally takes center stage. “What’s mostly been dramatized are the wives who didn’t make it,” says Swedish star Alicia Vikander, who plays the surviving queen opposite Jude Law’s ailing monarch. “[When I read the script] I immediately thought, ‘Huh, isn’t it interesting that most people know more about the other wives.’ It’s almost like people are drawn to quite grim stories.”

When is time not on the side of any Cannes film premiere?

Manori Ravindran Executive Editor of International Clive Owen has joined “Star Wars” star Daisy Ridley in the London-set action-thriller “Cleaner.” Directed by “Casino Royale” helmer Martin Campbell, the project follows a group of activists who ambush an energy company’s annual meeting at the Shard — one of London’s most recognizable skyscrapers — and takes 300 people hostage. However, the cause is hijacked by an extremist within the group who’s ready to kill in order to send a message. It takes the efforts of Joey Locke, a former soldier who’s now a window cleaner (played by Ridley), to save the hostages while ensuring the corporation is held to account.

Cannes Film Festival features an unusually robust selection of documentaries, two in the Main Competition alone, where nonfiction films almost never appear. And if the ones that have screened in the festival’s first three days have anything in common, it’s scale.

Manori Ravindran Executive Editor of International MUBI has acquired all rights for Kevin Macdonald’s John Galliano documentary from Newen Connect. The film “High & Low — John Galliano” has sold to MUBI for North America, U.K. and Ireland, Germany, Austria, Latin America, Benelux, Turkey and India. The streamer and distributor will reveal its theatrical release plans and streaming dates in the near future. Macdonald’s credits include the Oscar-winning “One Day in September,” “Touching the Void,” “The Last King of Scotland,” “Whitney” and, most recently, “The Mauritanian.” Widely recognized as one of the most influential and successful fashion designers of our time, Galliano dressed the most beautiful and famous women in the world for almost 15 years at Givenchy and Dior. He reinvented the fashion industry by transforming his runway shows into immersive fantasies and helped turn high-fashion from an elitist niche into a multi-billion-dollar global business.

“Johnny! Johnny!! Johnny!!! Johnny Depp!!!!” The celebrity dutifully signed autographs for his followers on the red carpet for the premiere of Jeanne du Barry, director Maiwenn’s Cannes Film Festival opener.

Somewhere in the third hour of Steve McQueen’s documentary “Occupied City,” the camera slowly dollies left over a list of names in glowing green print on a black background, enumerating the thousands of Jews deported from Amsterdam during the Nazi occupation. A moment of silence in the audio mix announces this as an important shot, an occasion to consider the enormity of the loss that this four-and-a-half-hour film itemizes with near-comprehensive diligence.

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Owen Gleiberman Chief Film Critic Over the past 15 years, Steve McQueen has become one of my favorite filmmakers. He’s made only a handful of features, but in almost every case he takes a subject of extraordinary magnitude (the 1971 IRA prison hunger strike in “Hunger,” the complex horrors of slavery in “12 Years a Slave,” the collision of gritty city politics and feminine revolt in “Widows,” the epochal crackdown on West Indian immigrants in London in “Mangrove”) and uses it to box open your heart and mind. And he does it all with a storytelling vibrance that’s at once heady and populist. So when it was announced that McQueen would be directing his first documentary feature, and that it would tackle the subject of the Holocaust, dealing with the victims of the Nazi occupation of Amsterdam (the city where McQueen now lives), my anticipation took the form of thinking: How, with a director of McQueen’s skill and imagination and gravity, could this be less than fascinating?

In cinematic form, how do you tell history without archive footage? Occupied City shows how it can be done, and to what effect.

Manori Ravindran Executive Editor of International Florence Pugh and Andrew Garfield-led romantic drama “We Live in Time” has sold into Canada’s Sphere Films. The Montreal- and Toronto-based company has picked up Canadian rights to the drama directed by “Brooklyn” helmer John Crowley, who also directed Garfield in his breakout role in “Boy A.” The film is currently in production in London and specific plot details are being kept closely under wraps. All that’s known so far is that the pic is an immersive love story. “We Live in Time” is scripted by playwright and screenwriter Nick Payne with Benedict Cumberbatch on board as executive producer. The project is developed and produced by Studiocanal with partners at SunnyMarch including Leah Clarke, Adam Ackland and Guy Heeley. It is co-financed by Film4 and Studiocanal. International sales are handled by Studiocanal while the U.S. distribution rights have been acquired by A24.

Manori Ravindran Executive Editor of International Bleecker Street has acquired North American rights to Andrew Cumming’s Stone Age thriller “The Origin” from Sony Pictures’ Stage 6. World premiering at the BFI London Film Festival in October, “The Origin” won acclaim for its unique approach to genre set in the Palaeolithic period. The script was written by Ruth Greenberg (“Run”) with Escape Plan Prods.’ Oliver Kassman (“Saint Maud”) producing. The pic was nominated for five British Independent Film Awards, with a win for breakthrough performance for Safia Oakley-Green. Bleecker Street is planning a fall-winter 2023 theatrical release.

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Manori Ravindran Executive Editor of International At Sunday night’s BAFTA TV Awards in London, the most popular couple in the room won’t actually be British. Given the U.K. reception to Australian series “Colin From Accounts” — which was acquired by the BBC in one of its smartest deals in years — that honor will likely go to Harriet Dyer and Patrick Brammall, the real-life partners who created and star in the half-hour rom-com. The couple will be presenting a BAFTA during the ceremony, and afterwards, they’re available for selfies. “If we land in the U.K. and people recognize us on the street, that’ll be massive, because it’s never happened to me,” says Dyer. “I’ve lived in L.A. for five years, and I’m on a network television show, and not a single person has gone, ‘Are you from “American Auto?”’ Not one. So I’m pumped. I want to take some pictures with some people.”