Cannes Film Festival 2017 Talking Movies

Cannes Film Festival 2017

Talking Movies reports from the French Riviera and brings audiences the highlights from the 70th edition of the Cannes Film Festival.

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agreement will not collapse if President Trump does as he has


threatened - and withdraws the United States.


Antonio Guterres - speaking at the G7 summit


in Italy - called on Donald Trump to stay engaged with the agreement.


Now on BBC News, it's time to look back at this year's


Cannes Film Festival in Talking Movies.


hello from the French Riviera, and welcome to this special edition of


talking movies, where we look back at some of the highlights from this


year 's Cannes Film Festival. The films that got festival-goers


talking. If I heard that a film went to Cannes, I was curious about it. A


clever satire from Sweden called The Square, and Russian relations in


Loveless. And some of the pressing issues of the day. Cinema is about


life, and right now, like us to model is. Plus the row over Netflix


showing its films at the festival. When Netflix's name appeared, there


were boos. And we look back at Cannes through the decades. All that


on this special Cannes edition of talking movies. -- Talking Movies.


It proceeded as normal this year, but there was heightened security.


The mood was subdued and a little tense after the Manchester bombing.


Festival-goers still thronged, beggars were eaten, and espresso was


down. One big difference, film wise, this year, is that no big Hollywood


studio pictures were there. But that is not to say there was no American


presidents. American indie films feature prominently in the lineup.


-- presence. One of the more eagerly awaited films was The Beguiled. The


story of a soldier during the civil war, sheltered by women at the


junior girls School. It is a reimagining of a 1971 film, starring


Clint Eastwood, that Coppola has to from a woman 's point of view. It


includes Kirsten Dunst, Nicole Kidman, and Elle Fanning. Todd


Haynes had wonderstruck in competition. It told to parallel


stories of different children from two different time periods. --


Wonderstruck. Then there was the was the well-received The Meyerowitz


Stories. Noah Baumbach's film was well received. His dialogue comes


Word for Word. These are to Montrose times, and several films at Cannes


this year dealt with political issues or pressing concerns. Whether


it be climate change, and less location, or refugees. At the


forefront of films addressing the refugee crisis was a dear old


actress Vanessa Redgrave, making her debut as a film director will stop


-- 80-year-old. The plight of the world's refugees ways heavily on


Vanessa Redgrave. To exploit the crisis, her documentary draws on a


range of media, video of her visits to a refugee camp, individual


testimonies, news footage, and a German ties to excerpt from


Shakespeare's The Tempest. For Vanessa Redgrave, long a political


activist, there were several reasons why she made a film on the refugee


crisis. It is a lifetime of events, as I see it, a whole process. But


there was a specific trigger, yes. The day that photograph was


published of the young boy lying on the pebbles of the beach. Dead. So I


thought, I need to make a film. And I put my money into that. I was in


the garden, it was a hot date. And suddenly I heard this horrendous


sound from the sky. He then she has made is thoughtful and personal. In


one section, she recalls her own World War Two excretors as a young


child, a wartime evacuee, the closer she came to being a refugee. So we


were evacuated. My brother and I, he was about one-year-old. Today, we


would be called internally displaced persons. So we were refugees, in our


own country. I was worried about having much of myself, but my


producer convinced me that telling my narrative of the Second World


War, and what happened to me, as an evacuee, along with thousands of


other children, would help people understand about refugees coming


from other countries. I thought, I must make a film, so when people


watch the film, they will feel as if they are watching relatives, not as


if they are watching some strange subhuman race. While the filmmaking


in this documentary is a little awkward at times, any shortcomings


are easily forgiven by audiences, because the subject matter is so


strong, as is Vanessa Redgrave's commitment to it. The theme of the


migrant was evident in other films at Chris Reid, such as in the


background of Happy End, and the refugee also featured fantastically


in Jupiter's Moon from a Hungarian film maker. It was the story of a


refugee travelling into hungry, and after being shot, finds he has a


superpower. He can levitate, or fly. One of the most earthbound films to


be shown was an inconveniency will. It was Al Gore's follow-up to his


climate change document tree which premiered at Cannes 11 years ago.


The new film has more action than the original. It is wrong to Louis


Bisson! -- pollute this earth. They went to wear ice is melting, where


they have been destructive storms, and the summit conference, and some


hopeful solutions for the climate crisis. The Trump administration


does not appear to be that interested in climate change. Would


you like President Trump to watch a film? Yes, I would. I don't know if


he will or not. I have criticised his policies and many of his


appointment. -- his film. I have not engaged a dialogue him. And I still


have hope that he will decide to keep the US in the Paris agreement.


-- this film. We have learnt in the last several months, however, that


not one person, even the President, can stop this climate movement. The


next generation will be justified in looking back at us and asking what


we were thinking. Could knew he what the scientists were saying? Could


you hear what Mother Nature were screaming at you? This is our home.


-- was screaming. Strong storytelling came from Russia at


this year with the film Loveless, directed by Andrey Zvyagintsev. His


last film was criticised at home. But this one was well-received here


at Cannes. Loveless is the story of eight loveless marriage in its


painful terminal phase. The two protagonists live on the outskirts


of St Petersburg with their son, Alyosha. It has become an


environment of petty arguments and toxic recriminations. And, when


Alyosha goes missing after a particularly bad bust up, two days


passed before it is notice. The police they may have more importance


is to deal with and should go Ms Hill the time.


TRANSLATION: The police reflect the interests of the government, the


people of power. When there is a tragic situation, people had to


organise themselves, and deal with it. -- and children go missing all


the time. It is a downbeat portrayal of Russian life.


TRANSLATION: So it is a true group of volunteers, which operates in big


cities in Russia. It is a matter of principle for them that they don't


take money and they are not a government enterprise. Andrey


Zvyagintsev has been criticised in the past for casting Russia in a


negative light of the world stage. Many felt his previous film,


Leviathan, a man at the mercy of violent official's story, was


condemned by Russian officials at, the Orthodox Church, and


conservative groups. This time, Andrey Zvyagintsev is keen to


soft-pedal the political aspect of his new film.


TRANSLATION: Is not a political thing, because it is more about the


inner world of a person, and the relation of their family and the


people they love. It is not a portrait of Russia. This will


perhaps give the film an easier ride with Russian from critics. To me, it


is a superior thing to Leviathan. Leviathan was too political. To my


tastes. But this one is more focused on human characters. These


characters are, however, highly unsympathetic. They are shown as


selfish, vain, and incest with material wealth, and social status.


-- obsessed. TRANSLATION: You say they are not


sympathetic. Most of the viewers will recognise themselves in these


characters. You see what is not sympathetic about these characters,


but you acknowledge that a part of you is close to them. It is a


competent a picture, a personal story, but one with political


overtones and, although the director is keen to play these down, Loveless


does reflect broken Russian institutions, and not just marriage,


but the police and the media. So will viewers aboard missed the


subtleties? They will miss a little bit. But it is not crucial. -- miss.


It is understandable work from this directive. His ability to say things


on a universal language is clear to almost everyone. There was much talk


in Cannes over the American streaming giant Netflix, which had


two films in competition. Many thought that Netflix should not be


allowed to compete at the festival unless its films will also released


some of them easily, traditionally, in cinema. The first Netflix film to


be shown at the festival was Okja, the story of a young girl struggling


to save her huge pet pig from the clutches of a huge corporation. Let


nothing come between the love of a young girl for her giant pig. Okja


is the latest movie from Bong Joon-ho. When the young girl's young


friend, a pig, is stashed away to New York to become a corporate


empire's latest product, it becomes a rescue mission. You should know


the situation is not good. Like his last film, Snow Piercer, the


director has assembled an international cast. The film got a


four-minute ovation from the press at Cannes, but was booed at the


start of the screening, when the net licks logo appeared. It led to


inaccurate reports that the film was temporarily stopped due to the press


reaction, when in fact, a technical fault was to blame. The cast were


diplomatic about the controversy. There is a revolution happen. I


figure will continue. Right now, I think it is unaware conversation is


being had. So to be a part of a conversation with a movie that


sparks further conversation, I think, is a very interesting thing,


and it is a huge honour to be included. Netflix is also funded


offbeat The Meyerowitz Stories. They are finding risky movies when


traditional studios refused to. But many critics to write their presence


here. This, Cannes' 70th birthday, is a clash between the old and the


new. The booing of companies such as Amazon on an Netflix are ways of


showing support for traditional methods of showing films, on a big


screen, and a cinema. There are fears that this could become less


frequent with the dominance of new giants. The festival has responded


to the controversy by saying that no firm can be in competition unless it


also promises a French theatrical release. The two sides of the debate


need to learn to talk the same debate. In that, they could learn a


lot from Okja. As usual, the director has made a multilingual


film, spanning different continents. Every time it is mentioned that we


will work in with different languages and there might have been


issues, I am shocked, because I did not, I have never experienced that.


It was filth like we all putting together something that is made out


of the same language. It is the pitches we are making. That is the


real land which that we are dealing in.


The potential appeal of this film to all generations should bring the


director offers from Hollywood. The outrage is only raised the profile


of the film. It is not impossible to imagine that sooner or later most


cinema fans will accept the new world order, especially if it


continues to produce such onscreen spectacles. One of the most talked


about films this year was the Square here is the filmmaker who made a


name friends or three years ago with the international arthouse hit,


force Michelle. This film is a satire centred on an art museum in


Stockholm were serious points to make. Kris Jenner is a handsome,


urbane and successful curator in a Stockholm Art Museum who is putting


on a new exhibition about trust and social responsibility. When his


phone and wallet as stolen he takes reckless vigilante action that has


devastating consequences. The film works as a razor-sharp satire of the


bush were our world, the modern media, masculinity and even Swedish


nurse. What I always do when I write scripts, I have myself as the


starting point. I think a lot about how I would react in this kind of


situation. Since I am interested in addressing the roles were trying to


play then, of course, I also want to undress Christian and when he, like,


confronts himself, down to the bone. Do you have sex with lots of other


women? And stripping him down to the bone is what the director does come


through a of increasingly bizarre situations. How often would you say


that you take women that you don't know very well and have sex with


them? He has a knack counter with a journalist. Their series of awkward


power struggles had audiences of Cannes squirming. Always? Yeah? So


what is my name? You look at a man like this and you think oh, I know


you. I know what you are up to and I know what you do. And, um, nailing


him on it a little bit and calling him out on it was quite fun. I think


we have all wanted to do that at times. I know what you are right


to... I have seen you. I see through it. The director is quickly becoming


the king of cringe with toe tellingly uncomfortable scenes frees


protagonists. Much stand-up comedy is based on awkward situations. It


creates a sort of humour that is direct and that you identify with as


an audience. Beside the direct humour, some of the most memorable


scenes in the Square expose the fine balance between our inner and outer


selves. Our social persona and our instinctive nature. During a


sumptuous gala dinner, for instance, one actor role-playing and eight


pushers and pushers at the of acceptability. In turn, reveals the


absurdity of social conventions. He is a provocative filmmaker and


revels in showing us uncomfortable sides of social behaviour and,


really, all of his films are about putting a mirror in front of the


audience making us recognise ourselves. We watch people doing


several things and think that we will never do that and then realise,


O, I would and I have. Cannes is celebrating a big birthday this


year. Its 70th anniversary. From its inception just after World War Two


it has grown to become what is generally regarded as the world's


top film Festival. We have been looking back at Cannes through the


decades. Cannes today, the mother of all film festivals. Cannes in 1946,


its first year in operation, bringing cinema of the day the


festival -goers. Cannes of the 1940s was associated with Italian


neorealism. One of the films in the first edition from 1946 was


Rossellini film. The French critics were and Susie aspect about the near


realism is. It did a big part to put neorealism on the map. And who else


would it be but Sofia Lorentz to excite the crowds? It was not only


international art cinema that defined Cannes in its formative


years. There was glitz, glamour and the media circus. Cannes was always


very good at attracting the most beautiful, talented and famous and,


certainly, if you look at some of the images from the 1950s and you


will see Robert Mitchum and Kim Novak and Ava Gardner. The glitz,


the stars on the Riviera. There really was solidified in the 1950s.


Over the years the official films slated Cannes has recognised key


films and filmmakers. Cannes is dominated as the international taste


maker for arthouse cinema. There are over 4000 film festivals the year


and many of the other full important film festivals look at what Cannes


is showing what the word star and what the word of mouth is. It


influences many other film festivals that follow. But Cannes is perhaps


not as influential as it once was in spotlight in new cinema. In the


nineteen sixties, Cannes was far more crucial is the taste maker in


the absence of other festivals, in the absence of what we now have in


terms of the Internet and social media. Everything is on the


Internet, whether it be Cannes or another festival. It is not quite


the same thing. The same thing that Cannes represented in the 1960s and


1970s. Now we get our knowledge from immediate and varied sources. Cannes


has not been without criticism. The ongoing lament is that the festival


is too much of a boys club. Gender balance is often an issue at Cannes.


There have been years where it has been an almost entirely male


competition. Slightly better this year. But even with its


imperfections, it every May, Cannes intoxicates. The striking location,


the emphasis is on fine art cinema juxtaposed with brash consumerism.


It all combines foray unique Cannes experience. That brings our special


Cannes edition of talking movies to a close. Please remember you can


always reach us [email protected] and you can find us on Facebook as well.


So from me and the rest of our production crew here on the French


Riviera, it is goodbye as we leave you with some of the sights and


sounds of the Cannes Film Festival.


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