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

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threatened - and withdraws the United States.

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Antonio Guterres - speaking at the G7 summit

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

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

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Cannes Film Festival in Talking Movies.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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presidents. American indie films feature prominently in the lineup.

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

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

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

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

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

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Haynes had wonderstruck in competition. It told to parallel

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

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

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

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

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this year dealt with political issues or pressing concerns. Whether

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

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forefront of films addressing the refugee crisis was a dear old

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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producer convinced me that telling my narrative of the Second World

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

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other children, would help people understand about refugees coming

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

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

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

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

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

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

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

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background of Happy End, and the refugee also featured fantastically

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

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

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

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

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

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

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

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

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hopeful solutions for the climate crisis. The Trump administration

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

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

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

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

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

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

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

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

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

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

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-- was screaming. Strong storytelling came from Russia at

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

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

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

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painful terminal phase. The two protagonists live on the outskirts

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

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environment of petty arguments and toxic recriminations. And, when

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

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

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

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

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

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

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

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

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

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take money and they are not a government enterprise. Andrey

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

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

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

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condemned by Russian officials at, the Orthodox Church, and

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conservative groups. This time, Andrey Zvyagintsev is keen to

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soft-pedal the political aspect of his new film.

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

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

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

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

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

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

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

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

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-- obsessed. TRANSLATION: You say they are not

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sympathetic. Most of the viewers will recognise themselves in these

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

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

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

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

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does reflect broken Russian institutions, and not just marriage,

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

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

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

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

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in Cannes over the American streaming giant Netflix, which had

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

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

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

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

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

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

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

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

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

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

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director has assembled an international cast. The film got a

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

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

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

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

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

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

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

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

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

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offbeat The Meyerowitz Stories. They are finding risky movies when

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

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

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

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

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

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

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

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

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

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

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

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will work in with different languages and there might have been

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

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

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

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real land which that we are dealing in.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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the king of cringe with toe tellingly uncomfortable scenes frees

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

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

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

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

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

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

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

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absurdity of social conventions. He is a provocative filmmaker and

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revels in showing us uncomfortable sides of social behaviour and,

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

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audience making us recognise ourselves. We watch people doing

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

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

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

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

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

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

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

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

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

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

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

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

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international art cinema that defined Cannes in its formative

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

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

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

:20:45.:20:48.

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

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

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Over the years the official films slated Cannes has recognised key

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films and filmmakers. Cannes is dominated as the international taste

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

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

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

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

:21:31.:21:35.

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

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

:21:41.:21:44.

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

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

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

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

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

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

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

:22:19.:22:24.

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

:22:25.:22:29.

competition. Slightly better this year. But even with its

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

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

:22:44.:22:53.

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

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

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

:23:03.:23:07.

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

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

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sounds of the Cannes Film Festival.

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