CANNES, France (AP)
— Despite the mood in Europe, don't expect any austerity at the Cannes
Film Festival, the annual Cote d'Azur extravaganza where glamour is
wrapped in world cinema fervor and gauzy Mediterranean sunshine.
Except
for the Oscars, it's the flashiest red carpet in the world, a ruby
staircase flanked by tuxedoed photographers — and a world away from
financial turmoil.
Yet Cannes, the 65th edition of which starts
Wednesday, fetes its directors as much as it does its stars. This year,
there are plenty of both: esteemed international filmmakers like Abbas
Kiarostami and Michael Haneke to big-name talent like Brad Pitt and
Nicole Kidman.
Among the 22 films in competition, there's a
particularly large American contingent, starting with the opening night
film, Wes Anderson's "Moonrise Kingdom." The movie about adolescent love
on the run brings a few new actors (Bruce Willis, Edward Norton) into
Anderson's carefully orchestrated world.
Later, there's David
Cronenberg's Don DeLillo adaptation "Cosmopolis," starring Robert
Pattinson, and Walter Salles' ("The Motorcycle Diaries") anticipated
adaptation of Jack Kerouac's beloved "On the Road." That film, produced
by Francis Ford Coppola, stars Sam Riley and Garrett Hedlund, but has
attracted more attention for its supporting roles, including Pattinson's
"Twilight" co-star Kristen Stewart as Dean Moriarty's girlfriend.
There's
also John Hillcoat's "Lawless," a Prohibition-era bootlegging tale
starring Shia LaBeouf and Tom Hardy, and Andrew Dominick's "Killing Them
Softly," a crime film starring Pitt as a Mob enforcer. The unusually
large U.S. group is rounded out by Jeff Nichols' "Mud," with Matthew
McConaughey and Reese Witherspoon, and Lee Daniels' "Precious" follow
up, "The Paperboy," a death row drama starring McConaughey, Zac Efron
and Kidman.
"The Americans are coming!" heralds Daniels, whose "Precious" screened in Cannes' Un Certain Regard section.
That
echoes the same sentiment of Cannes' artistic director Thierry Fremaux,
who declared America cinema "back in full force" when announcing the
lineup.
For Daniels, the festival is a comfortable place to premiere his latest.
"We
get so caught up, as Americans, in a specific type of film experience
that we forget that this is a small fraction of what cinema is about,"
he says. "It's OK to be odd. I remember when I was doing 'Precious,'
everybody looking at me and scratching their heads like, 'What are you
doing, really?' I remember feeling that I was odd, and I don't feel odd
at Cannes."
Terrence Malick's "Tree of Life" last won the
festival's top prize, the Palme d'Or, the first American film to do so
since Michael Moore's "Fahrenheit 9/11" in 2004. Although the French
silent film ode "The Artist" was bested by "Tree of Life" at Cannes, it
went on to win best picture at the Academy Awards.
"The Artist"
had been picked up for U.S. distribution ahead of Cannes by Harvey
Weinstein, whose Weinstein Co. will release "Lawless" and "Killing Them
Softly" this fall. He's frequently used Cannes as a place to both
acquire and launch films.
"Cannes is a worldwide arena," says
Weinstein. "It's just a great opportunity to launch something. The
worldwide press is there and it commands worldwide attention. You get
such a difference of opinion, and when it comes together as a consensus,
you can really launch a movie like we did 'The Artist' last year."
Several
films in competition will be looking for distribution, and some have
already found it. "On the Road" was last week acquired by IFC Films and
Sundance Selects with plans for a release late this year. In deals
signed in hotel rooms and aboard yachts, many other films in various
stages of production will be bought and sold. After a robust market in
2011, Weinstein — "a buyer and a seller" this year, he says — describes
this year's market as "maybe stronger."
Other films will seek to
benefit from the global convergence of media, like the upcoming
DreamWorks animation blockbuster "Madagascar 3: Europe's Most Wanted,"
which will screen out of competition, and "The Dictator," for which
Sacha Baron Cohen is expected to make an in-character promotional
appearance on the waterfront Wednesday. The festival will also host a
fundraiser for several Haiti charities, including Sean Penn's.
Whereas
Penn and Pitt are familiar favorites at Cannes, this year's festival
includes a new crop of young actors seeking more adventurous work,
including LaBeouf, Efron and Pattinson.
"When you fantasize about
how the world views you as an actor, you're like, 'I want to be
recognized at Cannes,'" says Pattinson, who has drawn high compliments
from his director, Cronenberg, for his performance in "Cosmopolis."
Pattinson
has previously been to Cannes to promote the "Twilight" film "New Moon"
in 2009, but he's clearly thrilled to be a part of the main slate.
"Hopefully, people don't hate it," he says, alluding to Cannes' famously vocal audiences.
Newcomers,
though, are outnumbered by veterans this year. More than two-thirds of
the directors with films in competition have previously had films at the
festival.
There are no women directors in competition this year,
after four last year — an outcome that the feminist group La Barbe has
condemned in an online petition.
Haneke, the Austrian director who
won the Palme d'Or for "The White Ribbon" in 2009, returns with
"Amour," about an octogenarian couple. The British filmmaker Ken Loach,
winner of the Palme in 2006 for "The Wind That Shakes the Barley," is
back with "The Angels' Share" — atypically for Loach, a comedy. The
Iranian master Kiarostami, whose "Taste of Cherry" won the Palme in
1997, has the Tokyo drama "Like Someone in Love."
That also leaves
international heavyweights Jacques Audiard ("Rust and Bone"), Cristian
Mungiu ("Beyond the Hills"), Matteo Garrone ("Reality"), Hong Sang-soo
("In Another Country," Carlos Reygadas ("Post Tenebras Lux") and the
89-year-old Alain Resnais ("You Haven't Seen Anything Yet").
Several
of the American films are international collaborations, helmed by
filmmakers from Brazil (Salles), New Zealand (Dominik) and Australia
(Hillcoat).
At Cannes, the context is always macro: all the world, all of cinema.
"It's
great to have an American genre film in that kind of arena, where what
you're coming to do is just share storytelling and the love of
filmmaking as opposed to national boundaries," says Hillcoat. "That's
what's really exciting about Cannes."