Cannes 2023 Showbiz and Celebrity Breaking News

Wim Wenders returned to the Croisette at the Cannes Film Festival in a big way this year with “Perfect Days.” The German director’s first film since 2017’s “Submergence” wowed audiences at the festival, with the movie nabbing the Prize Of The Ecumenical Jury and the Best Actor Award for star Kōji Yakusho. Now, after further screenings at Telluride, TIFF, London, and NYFF this Fall, it’s time for US audiences to see “Perfect Days” for themselves.

It’s not every year that an animated feature premieres at the Cannes Film Festival to such universal acclaim. But that was the case with “Robot Dreams,” Pablo Berger‘s latest film about the misadventures of a dog and a robot in 1980s NYC.

Fix up and look sharp, NYC filmgoers: Wang Bing‘s latest, “Youth (Spring),” begins its US theatrical rollout at Metograph next month. And the new documentary is just the first in a trilogy of new films Wang Bing has worked on since 2014.

It’s been a good year for Aki Kaurismäki and his latest film “Fallen Leaves” so far. After the movie’s world premiere, it won the Jury Prize at the Cannes Film Festival back in May.

While it didn’t win the Palme d’Or at Cannes this year, Tran Anh Hung‘s “The Taste Of Things” may have been the most delightful film at the festival. It won Hung Best Director, and received unanimously positive reviews from critics (read The Playlist’s review here).

Arguably the most famous or well-known filmmaker out of Finland, director Aki Kaurismäki, has made a career out of the deadpan; absurdist comedies with minimalism, sometimes defined by Shakespearean tragedy, very still minimal camera and witty drollery. The films of his that have a larger comedic bent have said to have a lot of kinship with the films of Jim Jarmusch.

It’s been a while since Michel Gondry‘s last film: eight years, in fact.

Whether a casual moviegoer or a die-hard cinephile, a Wes Anderson film is likely among your favorites. Anderson is a meticulous director who pours everything into the stories he tells.

Whether a casual moviegoer or a die-hard cinephile, a Wes Anderson film is likely among your favorites. Anderson is a meticulous director who pours everything into the stories he tells.

What’s there to say about French director Michel Hazanavicius? His two “OSS 117” films with Jean Dujardin are foreign cult comedies. And then the duo struck gold stateside with “The Artist,” which won Best Picture, Best Director, and Best Actor at the 2012 Oscars.

It would be nice to think that desires are nothing more than preferences, springing organically from a fixed identity and unaffected by outside circumstances such as personal history and societal norms. The reality is, of course, much thornier, and trying to disentangle the many different factors influencing our tastes and longings can quickly cause a lot of suffering.

CANNES – The past decade has been an Oscar boom for Cannes. The French institution has premiered a Best Picture winner in “Parasite” and landed nine nominees over that span including three alone this past January with “Elvis,” “Top Gun: Maverick” and Palme d’Or winner “Triangle of Sadness.” We’re not sure festival director Thierry Fremeux will land another Best Picture winner in 2024, but at least two Best Picture nominations seem very likely.

Chinese author Yu Hua is no stranger to Cannes. The famed postmodernist writer’s work first graced the silver screens of the Palais back in 1994 with director Zhang Yimou’s masterclass adaptation of his seminal novel, “To Live.” A searing portrait of a single family’s struggle through China’s mid-century upheaval and the Cultural Revolution, “To Live” would go on to win the festival’s coveted Grand Prix award, Prize of the Ecumenical Jury, and the Best Actor Award.

Alice Rohrwacher’s “La Chimera” flits between languages (English, Italian, French, German) as fluidly as it does mediums (35mm, Super16mm, and 16mm cinematography) and styles (jerkily sped up Chaplin-esque scenes, clinical CCTV footage, audacious 180-degree camera flips). Rohrwacher uses this mosaic of disparate approaches to hone in on other kinds of incongruous and unpredictable interplay: modern Italy and its ancient past, heartbreak and new love, and the real world and its spiritual mirror realm.

CANNES – The 2023 Cannes Film Festival has come to an end and that means the Palme d’Or winner has finally been revealed. Presented by jury president Ruben Östlund and special guest Jane Fonda, the honor went to Justine Triet’s “Anatomy of a Fall.” Recently acquired by NEON, it becomes the independent distributors third Palme winner over the past four years after “Titane” and Best Picture winner, “Parasite.” READ MORE: “The Zone of Interest” Review: Jonathan Glazer’s often brilliant examination of human complicity [Cannes] Tried becomes just the second woman in the 76-year history of the festival to win the Palme after “The Piano’s” Jane Campion and “Titane’s” Julia Ducournau.

The official synopsis for Wim Wenders’ “Perfect Days” is one of those rare occasions when a tightly-described premise encapsulates the immensity of a film: a janitor in Japan drives between jobs listening to rock music. In this case, the janitor is Hirayama (Koji Yakusho), an older man whose job is cleaning Tokyo’s elegantly designed public toilets.

The average South Korean consumes around 80 packets of ramyeon a year. The rehydrated mix of dried, curly noodles, freeze-dried vegetables and a sachet of powdered soup is one of the country’s most beloved comfort foods, a quickly-whipped, heartwarming meal that sits at the tricky intersection of tasty and convenient.

The 2023 Cannes Film Festival ends tomorrow, but awards for the fest start today, at least in the Un Certain Regard category. With John C.

CANNES – He had a bite of Wes Anderson’s world voicing Chief in the stop-motion animated “Isle of Dogs,” but Bryan Cranston is now officially a member of the auteur’s growing live action ensemble. The six-time Emmy Award winner, two-time Tony Award winner and Oscar nominee joined the club with his role as the inquisitive 1950s television program narrator in “Asteroid City.” And, if you’ve ever spoken to any of the other longtime Anderson collaborators, you quickly learn that for actors, a Wes Anderson movie is a blast.

With Quentin Tarantino at the Cannes Film Festival for a special screening of John Flynn‘s 1977 flick “Rolling Thunder,” Deadline sat the director down for an interview to talk about his career, his upcoming final film “The Movie Critic,” and more. And in the chat, QT confirmed that “The Movie Critic” will indeed be the “last thing” he does as a feature film.

There has been a lot of talk in recent years about cooking as a form of care, an idea intrinsically linked to the feminist revaluation of the work usually performed by women, which is most often unremunerated yet essential to day-to-day living.

Quentin Tarantino is back at the Cannes Film Festival this year for a special screening in the Directors’ Fortnight.

In 2008, Kléber Mendonça Filho released “Crítico,” a documentary building upon his years of experience as a film critic to weave a rich chronicling of cinephilia that gathered over 70 critics and filmmakers to discuss cinema in all of its joys and contradictions. Fifteen years later and following great acclaim as a fiction feature director, Filho returns to documentary to investigate some of the themes he first prodded upon in his debut with “Pictures of Ghosts.” READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch  As with Godard and Paris, Fellini and Rome, Scorsese, and New York, Filho is a filmmaker whose craft is deeply intertwined with his love of a city, in this case, the Pernambuco capital of Recife, in the north-east of Brazil.

Having previously won the Palme d’Or in 2001 for “The Son’s Room” and premiered the majority of his films in competition, Italian filmmaker Nanni Moretti has been a mainstay at the Cannes Film Festival for several decades.

CANNES: Docudramas are inherently difficult to master. You’re attempting to meld real-life footage or people with actors and, often, fictionalized accounts that may substantially differ from the truth.

In “Terrestrial Verses,” the first collaboration between co-directors Alireza Khatami and Ali Asgari that was met with applause throughout the entirety of its premiere screening in the Un Certain Regard section of this year’s Cannes Film Festival, observes life under Iranian theocracy through the mundane experiences of 12 ordinary people across various ages that are bookended by a prologue and epilogue. As we watch them navigate complex situations related to social repression, the swift 77-minute runtime never misses a beat.

CANNES – It was a warm afternoon on la Croisette when Todd Haynes sat down to chat about his celebrated new drama, “May December.” The Killer Films produced project still hadn’t been acquired yet (Netflix picked up North American rights for a reported $11 million), but the “Carol” auteur was in good spirits. Maybe he’d read the reviews.

For three decades, filmmaker Takeshi Kitano was fixated on a period of Japanese history, in which Lord Oda Nobunaga was inexplicably betrayed by one of his closest allies, Akechi Mitsuhide, in an ambush at Honno-ji Temple. The reasons behind Mitsuhide’s deception are unknown, but Kitano dedicated years to concocting his own theories, going so far as to pen a novel imagining the events that led to the incident.  Adapted from his own book, “Kubi” is an outrageously exhilarating update of the samurai epic, dialing up the blood and guts and sprinkling in the sick humor to match.

Warwick Thornton is no stranger to La Croisette. His debut feature, “Samson and Delilah,” won the Camera d’Or at the 2009 Cannes Film Festival, where his latest feature, “The New Boy,” just had its premiere.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch “The New Boy” never gives its protagonist, the titular New Boy, a name.

CANNES – For someone who is notoriously media-shy, Wes Anderson was in a delightful mood at the press conference for his new film, “Asteroid City.” And considering the star power alongside him on the dias, he dominated the conversation. Maybe that shouldn’t be a surprise considering the power of his cinematic brand.

CANNES – Martin Scorsese isn’t the only 80-year-old filmmaker with a movie in competition at this year’s Cannes Film Festival. Marco Bellocchio, who was most recently at the festival in 2019 with “The Traitor,” returns at the spry young age of 83 with the ambitious tale of Edgardo Mortara, in “Kidnapped.” A movie that begins with a horrific act by the Catholic Church and then attempts to paint a portrait of one of the most infamous popes of relatively modern times, Pope Pius IX.

The show is still days away from arriving on HBO, but the months leading up to the release have made “The Idol” a hot-button topic to discuss. And most of the discourse surrounds the behind-the-scenes drama that plagued the production.

Cults and eating disorders warp the mind much in the same way: they convince the individual that their behavior is special and vital, that everyone else can’t see themselves or the world clearly, and that any external opposition only proves the effectiveness and power of their behavior. In her grueling new film “Club Zero,” Austria’s most fearless button-pusher Jessica Hausner fuses the two into a trajectory of slow-moving, inexorable body horror as primly buttoned-up as the lemon-lime polo shirt uniforms selected by her costume-designer sister Tanja.

An English lieutenant, an American cowboy, and a mixed-race Chilean sheepherder venture into the inhospitable limits of the Tierra de Fuego region at the southernmost tip of the South American continent—the ends of the Earth, some might call it. Under the orders of their employer, landowner José Menéndez (the always masterful Alfredo Castro), the trio’s mission is to savagely murder as many Indigenous people as they encounter in their path.  READ MORE: 2023 Cannes Film Festival: 21 Must-See Movies To Watch Set in 1901, “The Settlers” (Los Colonos), a scorching Western on Chile’s blood-soaked national myth, takes aspects from the official text-book history and probes at their conveniently sanitized interpretations of how they shaped the country’s future.

There is no dialogue. There are no humans.

Michel Gondry’s new film “The Book of Solutions,” playing in Directors’ Fortnight at this year’s Cannes Film Festival, centers on the torturous life of being a creative filmmaker and begins at the heart of the matter: Marcc(Pierre Niney) is in a meeting with the producers of his new film, and they are unhappy with what he has delivered them. They’re ending the shoot, putting a new editor in charge to salvage what is already there, and his producing partner of many years finally turns his back on him.