:00:00. > :00:00.agreement will not collapse if President Trump does as he has
:00:00. > :00:00.threatened - and withdraws the United States.
:00:00. > :00:07.Antonio Guterres - speaking at the G7 summit
:00:08. > :00:11.in Italy - called on Donald Trump to stay engaged with the agreement.
:00:12. > :00:14.Now on BBC News, it's time to look back at this year's
:00:15. > :00:23.Cannes Film Festival in Talking Movies.
:00:24. > :00:28.hello from the French Riviera, and welcome to this special edition of
:00:29. > :00:33.talking movies, where we look back at some of the highlights from this
:00:34. > :00:38.year 's Cannes Film Festival. The films that got festival-goers
:00:39. > :00:46.talking. If I heard that a film went to Cannes, I was curious about it. A
:00:47. > :00:50.clever satire from Sweden called The Square, and Russian relations in
:00:51. > :00:55.Loveless. And some of the pressing issues of the day. Cinema is about
:00:56. > :01:00.life, and right now, like us to model is. Plus the row over Netflix
:01:01. > :01:09.showing its films at the festival. When Netflix's name appeared, there
:01:10. > :01:13.were boos. And we look back at Cannes through the decades. All that
:01:14. > :01:23.on this special Cannes edition of talking movies. -- Talking Movies.
:01:24. > :01:27.It proceeded as normal this year, but there was heightened security.
:01:28. > :01:39.The mood was subdued and a little tense after the Manchester bombing.
:01:40. > :01:43.Festival-goers still thronged, beggars were eaten, and espresso was
:01:44. > :01:47.down. One big difference, film wise, this year, is that no big Hollywood
:01:48. > :01:52.studio pictures were there. But that is not to say there was no American
:01:53. > :01:59.presidents. American indie films feature prominently in the lineup.
:02:00. > :02:06.-- presence. One of the more eagerly awaited films was The Beguiled. The
:02:07. > :02:10.story of a soldier during the civil war, sheltered by women at the
:02:11. > :02:18.junior girls School. It is a reimagining of a 1971 film, starring
:02:19. > :02:28.Clint Eastwood, that Coppola has to from a woman 's point of view. It
:02:29. > :02:33.includes Kirsten Dunst, Nicole Kidman, and Elle Fanning. Todd
:02:34. > :02:36.Haynes had wonderstruck in competition. It told to parallel
:02:37. > :02:41.stories of different children from two different time periods. --
:02:42. > :02:52.Wonderstruck. Then there was the was the well-received The Meyerowitz
:02:53. > :03:00.Stories. Noah Baumbach's film was well received. His dialogue comes
:03:01. > :03:03.Word for Word. These are to Montrose times, and several films at Cannes
:03:04. > :03:08.this year dealt with political issues or pressing concerns. Whether
:03:09. > :03:12.it be climate change, and less location, or refugees. At the
:03:13. > :03:18.forefront of films addressing the refugee crisis was a dear old
:03:19. > :03:24.actress Vanessa Redgrave, making her debut as a film director will stop
:03:25. > :03:30.-- 80-year-old. The plight of the world's refugees ways heavily on
:03:31. > :03:34.Vanessa Redgrave. To exploit the crisis, her documentary draws on a
:03:35. > :03:38.range of media, video of her visits to a refugee camp, individual
:03:39. > :03:49.testimonies, news footage, and a German ties to excerpt from
:03:50. > :03:52.Shakespeare's The Tempest. For Vanessa Redgrave, long a political
:03:53. > :03:58.activist, there were several reasons why she made a film on the refugee
:03:59. > :04:06.crisis. It is a lifetime of events, as I see it, a whole process. But
:04:07. > :04:11.there was a specific trigger, yes. The day that photograph was
:04:12. > :04:21.published of the young boy lying on the pebbles of the beach. Dead. So I
:04:22. > :04:27.thought, I need to make a film. And I put my money into that. I was in
:04:28. > :04:35.the garden, it was a hot date. And suddenly I heard this horrendous
:04:36. > :04:39.sound from the sky. He then she has made is thoughtful and personal. In
:04:40. > :04:44.one section, she recalls her own World War Two excretors as a young
:04:45. > :04:49.child, a wartime evacuee, the closer she came to being a refugee. So we
:04:50. > :04:53.were evacuated. My brother and I, he was about one-year-old. Today, we
:04:54. > :04:59.would be called internally displaced persons. So we were refugees, in our
:05:00. > :05:06.own country. I was worried about having much of myself, but my
:05:07. > :05:12.producer convinced me that telling my narrative of the Second World
:05:13. > :05:17.War, and what happened to me, as an evacuee, along with thousands of
:05:18. > :05:22.other children, would help people understand about refugees coming
:05:23. > :05:27.from other countries. I thought, I must make a film, so when people
:05:28. > :05:36.watch the film, they will feel as if they are watching relatives, not as
:05:37. > :05:44.if they are watching some strange subhuman race. While the filmmaking
:05:45. > :05:47.in this documentary is a little awkward at times, any shortcomings
:05:48. > :05:51.are easily forgiven by audiences, because the subject matter is so
:05:52. > :06:00.strong, as is Vanessa Redgrave's commitment to it. The theme of the
:06:01. > :06:06.migrant was evident in other films at Chris Reid, such as in the
:06:07. > :06:10.background of Happy End, and the refugee also featured fantastically
:06:11. > :06:17.in Jupiter's Moon from a Hungarian film maker. It was the story of a
:06:18. > :06:26.refugee travelling into hungry, and after being shot, finds he has a
:06:27. > :06:32.superpower. He can levitate, or fly. One of the most earthbound films to
:06:33. > :06:39.be shown was an inconveniency will. It was Al Gore's follow-up to his
:06:40. > :06:43.climate change document tree which premiered at Cannes 11 years ago.
:06:44. > :06:53.The new film has more action than the original. It is wrong to Louis
:06:54. > :06:56.Bisson! -- pollute this earth. They went to wear ice is melting, where
:06:57. > :07:03.they have been destructive storms, and the summit conference, and some
:07:04. > :07:06.hopeful solutions for the climate crisis. The Trump administration
:07:07. > :07:10.does not appear to be that interested in climate change. Would
:07:11. > :07:16.you like President Trump to watch a film? Yes, I would. I don't know if
:07:17. > :07:20.he will or not. I have criticised his policies and many of his
:07:21. > :07:25.appointment. -- his film. I have not engaged a dialogue him. And I still
:07:26. > :07:29.have hope that he will decide to keep the US in the Paris agreement.
:07:30. > :07:34.-- this film. We have learnt in the last several months, however, that
:07:35. > :07:39.not one person, even the President, can stop this climate movement. The
:07:40. > :07:43.next generation will be justified in looking back at us and asking what
:07:44. > :07:46.we were thinking. Could knew he what the scientists were saying? Could
:07:47. > :07:54.you hear what Mother Nature were screaming at you? This is our home.
:07:55. > :08:05.-- was screaming. Strong storytelling came from Russia at
:08:06. > :08:10.this year with the film Loveless, directed by Andrey Zvyagintsev. His
:08:11. > :08:19.last film was criticised at home. But this one was well-received here
:08:20. > :08:25.at Cannes. Loveless is the story of eight loveless marriage in its
:08:26. > :08:30.painful terminal phase. The two protagonists live on the outskirts
:08:31. > :08:34.of St Petersburg with their son, Alyosha. It has become an
:08:35. > :08:45.environment of petty arguments and toxic recriminations. And, when
:08:46. > :08:51.Alyosha goes missing after a particularly bad bust up, two days
:08:52. > :08:57.passed before it is notice. The police they may have more importance
:08:58. > :08:59.is to deal with and should go Ms Hill the time.
:09:00. > :09:03.TRANSLATION: The police reflect the interests of the government, the
:09:04. > :09:08.people of power. When there is a tragic situation, people had to
:09:09. > :09:15.organise themselves, and deal with it. -- and children go missing all
:09:16. > :09:19.the time. It is a downbeat portrayal of Russian life.
:09:20. > :09:23.TRANSLATION: So it is a true group of volunteers, which operates in big
:09:24. > :09:27.cities in Russia. It is a matter of principle for them that they don't
:09:28. > :09:33.take money and they are not a government enterprise. Andrey
:09:34. > :09:42.Zvyagintsev has been criticised in the past for casting Russia in a
:09:43. > :09:49.negative light of the world stage. Many felt his previous film,
:09:50. > :09:56.Leviathan, a man at the mercy of violent official's story, was
:09:57. > :10:00.condemned by Russian officials at, the Orthodox Church, and
:10:01. > :10:03.conservative groups. This time, Andrey Zvyagintsev is keen to
:10:04. > :10:05.soft-pedal the political aspect of his new film.
:10:06. > :10:10.TRANSLATION: Is not a political thing, because it is more about the
:10:11. > :10:15.inner world of a person, and the relation of their family and the
:10:16. > :10:18.people they love. It is not a portrait of Russia. This will
:10:19. > :10:27.perhaps give the film an easier ride with Russian from critics. To me, it
:10:28. > :10:35.is a superior thing to Leviathan. Leviathan was too political. To my
:10:36. > :10:42.tastes. But this one is more focused on human characters. These
:10:43. > :10:46.characters are, however, highly unsympathetic. They are shown as
:10:47. > :10:50.selfish, vain, and incest with material wealth, and social status.
:10:51. > :10:54.-- obsessed. TRANSLATION: You say they are not
:10:55. > :10:58.sympathetic. Most of the viewers will recognise themselves in these
:10:59. > :11:01.characters. You see what is not sympathetic about these characters,
:11:02. > :11:04.but you acknowledge that a part of you is close to them. It is a
:11:05. > :11:08.competent a picture, a personal story, but one with political
:11:09. > :11:15.overtones and, although the director is keen to play these down, Loveless
:11:16. > :11:20.does reflect broken Russian institutions, and not just marriage,
:11:21. > :11:24.but the police and the media. So will viewers aboard missed the
:11:25. > :11:32.subtleties? They will miss a little bit. But it is not crucial. -- miss.
:11:33. > :11:41.It is understandable work from this directive. His ability to say things
:11:42. > :11:51.on a universal language is clear to almost everyone. There was much talk
:11:52. > :11:54.in Cannes over the American streaming giant Netflix, which had
:11:55. > :11:57.two films in competition. Many thought that Netflix should not be
:11:58. > :12:01.allowed to compete at the festival unless its films will also released
:12:02. > :12:06.some of them easily, traditionally, in cinema. The first Netflix film to
:12:07. > :12:11.be shown at the festival was Okja, the story of a young girl struggling
:12:12. > :12:20.to save her huge pet pig from the clutches of a huge corporation. Let
:12:21. > :12:29.nothing come between the love of a young girl for her giant pig. Okja
:12:30. > :12:41.is the latest movie from Bong Joon-ho. When the young girl's young
:12:42. > :12:45.friend, a pig, is stashed away to New York to become a corporate
:12:46. > :12:50.empire's latest product, it becomes a rescue mission. You should know
:12:51. > :12:57.the situation is not good. Like his last film, Snow Piercer, the
:12:58. > :13:07.director has assembled an international cast. The film got a
:13:08. > :13:11.four-minute ovation from the press at Cannes, but was booed at the
:13:12. > :13:15.start of the screening, when the net licks logo appeared. It led to
:13:16. > :13:19.inaccurate reports that the film was temporarily stopped due to the press
:13:20. > :13:24.reaction, when in fact, a technical fault was to blame. The cast were
:13:25. > :13:27.diplomatic about the controversy. There is a revolution happen. I
:13:28. > :13:31.figure will continue. Right now, I think it is unaware conversation is
:13:32. > :13:34.being had. So to be a part of a conversation with a movie that
:13:35. > :13:38.sparks further conversation, I think, is a very interesting thing,
:13:39. > :13:51.and it is a huge honour to be included. Netflix is also funded
:13:52. > :13:57.offbeat The Meyerowitz Stories. They are finding risky movies when
:13:58. > :14:06.traditional studios refused to. But many critics to write their presence
:14:07. > :14:11.here. This, Cannes' 70th birthday, is a clash between the old and the
:14:12. > :14:15.new. The booing of companies such as Amazon on an Netflix are ways of
:14:16. > :14:19.showing support for traditional methods of showing films, on a big
:14:20. > :14:24.screen, and a cinema. There are fears that this could become less
:14:25. > :14:28.frequent with the dominance of new giants. The festival has responded
:14:29. > :14:34.to the controversy by saying that no firm can be in competition unless it
:14:35. > :14:38.also promises a French theatrical release. The two sides of the debate
:14:39. > :14:42.need to learn to talk the same debate. In that, they could learn a
:14:43. > :14:49.lot from Okja. As usual, the director has made a multilingual
:14:50. > :14:53.film, spanning different continents. Every time it is mentioned that we
:14:54. > :14:56.will work in with different languages and there might have been
:14:57. > :15:00.issues, I am shocked, because I did not, I have never experienced that.
:15:01. > :15:04.It was filth like we all putting together something that is made out
:15:05. > :15:08.of the same language. It is the pitches we are making. That is the
:15:09. > :15:12.real land which that we are dealing in.
:15:13. > :15:19.The potential appeal of this film to all generations should bring the
:15:20. > :15:26.director offers from Hollywood. The outrage is only raised the profile
:15:27. > :15:29.of the film. It is not impossible to imagine that sooner or later most
:15:30. > :15:34.cinema fans will accept the new world order, especially if it
:15:35. > :15:48.continues to produce such onscreen spectacles. One of the most talked
:15:49. > :15:53.about films this year was the Square here is the filmmaker who made a
:15:54. > :15:57.name friends or three years ago with the international arthouse hit,
:15:58. > :16:05.force Michelle. This film is a satire centred on an art museum in
:16:06. > :16:18.Stockholm were serious points to make. Kris Jenner is a handsome,
:16:19. > :16:23.urbane and successful curator in a Stockholm Art Museum who is putting
:16:24. > :16:27.on a new exhibition about trust and social responsibility. When his
:16:28. > :16:32.phone and wallet as stolen he takes reckless vigilante action that has
:16:33. > :16:37.devastating consequences. The film works as a razor-sharp satire of the
:16:38. > :16:44.bush were our world, the modern media, masculinity and even Swedish
:16:45. > :16:48.nurse. What I always do when I write scripts, I have myself as the
:16:49. > :16:57.starting point. I think a lot about how I would react in this kind of
:16:58. > :17:05.situation. Since I am interested in addressing the roles were trying to
:17:06. > :17:09.play then, of course, I also want to undress Christian and when he, like,
:17:10. > :17:18.confronts himself, down to the bone. Do you have sex with lots of other
:17:19. > :17:22.women? And stripping him down to the bone is what the director does come
:17:23. > :17:27.through a of increasingly bizarre situations. How often would you say
:17:28. > :17:34.that you take women that you don't know very well and have sex with
:17:35. > :17:37.them? He has a knack counter with a journalist. Their series of awkward
:17:38. > :17:49.power struggles had audiences of Cannes squirming. Always? Yeah? So
:17:50. > :17:54.what is my name? You look at a man like this and you think oh, I know
:17:55. > :17:59.you. I know what you are up to and I know what you do. And, um, nailing
:18:00. > :18:06.him on it a little bit and calling him out on it was quite fun. I think
:18:07. > :18:11.we have all wanted to do that at times. I know what you are right
:18:12. > :18:21.to... I have seen you. I see through it. The director is quickly becoming
:18:22. > :18:26.the king of cringe with toe tellingly uncomfortable scenes frees
:18:27. > :18:32.protagonists. Much stand-up comedy is based on awkward situations. It
:18:33. > :18:37.creates a sort of humour that is direct and that you identify with as
:18:38. > :18:41.an audience. Beside the direct humour, some of the most memorable
:18:42. > :18:45.scenes in the Square expose the fine balance between our inner and outer
:18:46. > :18:55.selves. Our social persona and our instinctive nature. During a
:18:56. > :18:58.sumptuous gala dinner, for instance, one actor role-playing and eight
:18:59. > :19:04.pushers and pushers at the of acceptability. In turn, reveals the
:19:05. > :19:08.absurdity of social conventions. He is a provocative filmmaker and
:19:09. > :19:13.revels in showing us uncomfortable sides of social behaviour and,
:19:14. > :19:16.really, all of his films are about putting a mirror in front of the
:19:17. > :19:20.audience making us recognise ourselves. We watch people doing
:19:21. > :19:33.several things and think that we will never do that and then realise,
:19:34. > :19:37.O, I would and I have. Cannes is celebrating a big birthday this
:19:38. > :19:40.year. Its 70th anniversary. From its inception just after World War Two
:19:41. > :19:44.it has grown to become what is generally regarded as the world's
:19:45. > :19:51.top film Festival. We have been looking back at Cannes through the
:19:52. > :19:58.decades. Cannes today, the mother of all film festivals. Cannes in 1946,
:19:59. > :20:05.its first year in operation, bringing cinema of the day the
:20:06. > :20:08.festival -goers. Cannes of the 1940s was associated with Italian
:20:09. > :20:15.neorealism. One of the films in the first edition from 1946 was
:20:16. > :20:22.Rossellini film. The French critics were and Susie aspect about the near
:20:23. > :20:25.realism is. It did a big part to put neorealism on the map. And who else
:20:26. > :20:31.would it be but Sofia Lorentz to excite the crowds? It was not only
:20:32. > :20:34.international art cinema that defined Cannes in its formative
:20:35. > :20:39.years. There was glitz, glamour and the media circus. Cannes was always
:20:40. > :20:44.very good at attracting the most beautiful, talented and famous and,
:20:45. > :20:48.certainly, if you look at some of the images from the 1950s and you
:20:49. > :20:57.will see Robert Mitchum and Kim Novak and Ava Gardner. The glitz,
:20:58. > :21:07.the stars on the Riviera. There really was solidified in the 1950s.
:21:08. > :21:10.Over the years the official films slated Cannes has recognised key
:21:11. > :21:15.films and filmmakers. Cannes is dominated as the international taste
:21:16. > :21:18.maker for arthouse cinema. There are over 4000 film festivals the year
:21:19. > :21:25.and many of the other full important film festivals look at what Cannes
:21:26. > :21:30.is showing what the word star and what the word of mouth is. It
:21:31. > :21:35.influences many other film festivals that follow. But Cannes is perhaps
:21:36. > :21:40.not as influential as it once was in spotlight in new cinema. In the
:21:41. > :21:44.nineteen sixties, Cannes was far more crucial is the taste maker in
:21:45. > :21:47.the absence of other festivals, in the absence of what we now have in
:21:48. > :21:54.terms of the Internet and social media. Everything is on the
:21:55. > :22:05.Internet, whether it be Cannes or another festival. It is not quite
:22:06. > :22:08.the same thing. The same thing that Cannes represented in the 1960s and
:22:09. > :22:14.1970s. Now we get our knowledge from immediate and varied sources. Cannes
:22:15. > :22:18.has not been without criticism. The ongoing lament is that the festival
:22:19. > :22:24.is too much of a boys club. Gender balance is often an issue at Cannes.
:22:25. > :22:29.There have been years where it has been an almost entirely male
:22:30. > :22:37.competition. Slightly better this year. But even with its
:22:38. > :22:43.imperfections, it every May, Cannes intoxicates. The striking location,
:22:44. > :22:53.the emphasis is on fine art cinema juxtaposed with brash consumerism.
:22:54. > :22:57.It all combines foray unique Cannes experience. That brings our special
:22:58. > :23:02.Cannes edition of talking movies to a close. Please remember you can
:23:03. > :23:07.always reach us online@BBC.com and you can find us on Facebook as well.
:23:08. > :23:10.So from me and the rest of our production crew here on the French
:23:11. > :23:14.Riviera, it is goodbye as we leave you with some of the sights and
:23:15. > :23:18.sounds of the Cannes Film Festival.