The Cannes Film Festival opened Tuesday with the unveiling of Greta Gerwig’s jury selection and the presentation of an honorary Palme d’Or — the festival’s most prestigious prize — for Meryl Streep as the French Riviera spectacular kicked off its 77th edition.
But along with buzzy films from Furiosa: A Mad Max Saga, to Kevin Costner’s American Horizon and Yargos Lanthimos’s Kinds of Kindness, Cannes is looking particularly Canadian this year. In the largest showing since 2012 — which saw three features and a short film from the country in the official selection — this year’s festival is largely bolstered by productions and artists from the Great White North.
After his 2022 Crimes of the Future inspired Cannes walkouts and a seven-minute standing ovation (somewhat obligatory at the festival), body horror specialist David Cronenberg is headed back to the French film showcase. This time he is debuting The Shrouds, a Guy Pearce, Vincent Cassell, Diane Kruger and Sandrine Holt-led horror about a recently bereaved husband who invents a way to observe, and commune with, the dead.
This is the best summary I could come up with:
In the largest showing since 2012 — which saw three features and a short film from the country in the official selection — this year’s festival is largely bolstered by productions and artists from the Great White North.
After his 2022 Crimes of the Future inspired Cannes walkouts and a seven-minute standing ovation (somewhat obligatory at the festival), body horror specialist David Cronenberg is headed back to the French film showcase.
This time he is debuting The Shrouds, a Guy Pearce, Vincent Cassell, Diane Kruger and Sandrine Holt-led horror about a recently bereaved husband who invents a way to observe, and commune with, the dead.
Following the former U.S. president’s early years as a New York real estate mogul, the Ali Abbasi-directed film stars Sebastian Stan as Trump and is a Canadian majority co-production with Ireland and Denmark.
Though — like Maddin — Rankin has had a short film appear at Cannes, his Universal Language will receive an out-of-competition premiere in the Directors’ Fortnight section, a segment meant to highlight inventive and unique productions that challenge typical forms.
On Monday, the Iranian filmmaker Mohammed Rasoulof, whose film The Seed of the Sacred Fig is premiering next week in competition in Cannes, said he had fled Iran after being sentenced to eight years in prison and flogging.
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