‘The Stranger’ Review: We’re Here For A True Crime, Not A Good Time [Cannes]

Arctic Monkeys, My Chemical Romance, Miley Cyrus and more have been announced on the line-up for this year’s edition of Mexico’s Corona Capital festival.The festival will run for three days across November 18-20, taking place at the Autódromo Hermanos Rodríguez race track in Mexico City. The event, which typically features alternative and rock acts, also counts Paramore, Yeah Yeah Yeahs, Two Door Cinema Club and Liam Gallagher among its 85 acts.Elsewhere, on the pop front, the festival will welcome Lil Nas X, Remi Wolf and The 1975, while The Kooks, Jamie XX, Foals and IDLES will further represent the UK.

Scottish stars Sam Heughan and Ncuti Gatwa are being honoured at the Royal Conservatoire of Scotland's graduation ceremony next month.

EXCLUSIVE: Erin Moriarty (The Boys), Jai Courtney (Suicide Squad), Dina Shihabi (Archive 81) and Ryan Corr (House of the Dragon) have signed on to star in Catching Dust—an upcoming Texas noir marking the feature debut of writer-director Stuart Gatt, which will enter production in the Canary Islands this month.

As a procedural drama centrally interested in the radicalization of a young Muslim boy in Belgium, Adil & Bilall’s “Rebel” pulsates with terrible inevitability. Falling behind at school, with an adored older brother already having made the trip to Syria and a trafficker whispering in his ear, it’s less a question of if Nassim (Amir El Arbi, another tremendous kid actor for Cannes ’22 to tick off) is going to find himself on the Jihadist frontline, but when.

Ncuti Gatwa did a great job at keeping his Doctor Who casting a secret.

Michele Amabile Angermiller Epic Records has promoted Ayanna Wilks to vice president of publicity and has hired Natalie Geday as VP of publicity as well.Both report to Melissa Victor, SVP and head of publicity for the Sony Music label. Both are based in Los Angeles.Wilks (pictured at left) was previously senior director of public relations and has worked on the media campaigns for Giveon, Bia and Mimi Webb as well as newcomers India Shawn, Melvoni and MK xyz, among others.

Cannes Film Festival simply refuses to quit when it comes to providing some of this year's most incredible red carpet style moments. The 75th annual event has already welcomed a whole host of glamourous global stars to the French Riviera and last night's fashion choices were some of the best that we've seen so far.

“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.

There’s really no overstating the sociocultural impact of Elvis Aaron Presley, whose music and celebrity cleaved the twentieth century in half as an Ozymandias colossus foretelling the future of fame: merchandising, overexposure, descent into self-parody. That’s all in Baz Luhrmann’s new biopic “Elvis,” though mostly because he’s jammed everything he possibly can into its million-millennia run time.

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.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

“Narcissists are the ones who make it…combined with talent, it’s a plus,” Signe (Kristine Kujath Thorp) coolly observes in the opening stages of the wickedly enjoyable “Sick of Myself.” For anyone who’s watched a partner realize their dreams, a trusted colleague get promoted, or a friend become famous, and curdled with jealousy and resentment, Kristoffer Borgli has made the film for you. The filmmaker’s tart and scabrously funny (both literally and figuratively) sophomore feature is a pointed portrait of a toxic relationship and a razor-sharp evisceration of those warped by a victim mentality.

It probably says something, in spite of their public comments to the contrary, about the severity of the Coen Brothers’ break-up that each of them has proceeded to make a movie that you not only can’t imagine them making together, but that is so easily classifiable — after all, “Shakespeare adaptation” and “musical bio-doc” are two of the most venerable film types of today. The only genre you could safely consign them to before now was their own; they made “Coen Brothers movies,” and everyone knew what that meant, even if they couldn’t precisely pinpoint it.

Inspired by her own late mother’s long battle with multiple sclerosis, writer/director Emily Atef’s (“Molly’s Way,” “3 Days in Quiberon”) latest work, “More Than Ever,” delivers a poignant and well-acted story. Featuring Gaspard Ulliel’s last performance, the film asks its audience to face the reality of and ponder the inevitability of death as well as the line between those who have experienced a type of suffering and those who haven’t.

There’s a lot happening at the 2022 Cannes Film Festival right now and so many big stars stepped out for photo calls during day five.

“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.

EXCLUSIVE: Jeremy Renner is set to star as the journalist who helped blow the lid off the Sackler family and Purdue Pharma’s role in the rampant spread of the highly addictive painkiller OxyContin. The two-time Oscar nominee will play Pulitzer Prize-winning investigative journalist David Armstrong in a drama that is being sold here in the Cannes Market through Expanded Media/LBI Entertainment and 101 Studios.

“Bait,” British filmmaker Mark Jenkin’s breakout feature, could well be considered a horror movie. Set in a quaint little fishing enclave off the Cornish coast, where the ship decks are rickety and the townhouses’ whitewash ever-peeling, the knotty fear of loss is ever-present: of history, of possession, of tradition, of heritage, of liberty.

An undercover cop befriends a murder suspect in The Stranger, a taut Australian thriller in Cannes’ Un Certain Regard section. Written and directed by Thomas M. Wright (Acute Misfortune), it features excellent performances from Sean Harris and Joel Edgerton, who also serves as producer.