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Movies|Cannes 2023: The Films We’re Excited About Seeing

https://www.nytimes.com/2023/05/15/movies/cannes-film-festival-what-to-see.html
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CANNES FILM FESTIVAL

 * Day 1 Highlights
 * Red Carpet Photos
 * What to See
 * Meet the Jury
 * 15 Cannes Fashion Moments
 * Johnny Depp’s Return

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CANNES 2023: THE FILMS WE’RE EXCITED ABOUT SEEING

Wes Anderson, Martin Scorsese and Todd Haynes have works premiering this year at
the festival on the French Riviera.

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Scarlett Johansson in a scene from “Asteroid City.”Credit...Focus Features


By Kyle Buchanan

Published May 15, 2023Updated May 16, 2023, 11:51 a.m. ET

Follow our live updates from the opening night of the Cannes Film Festival.

Wes Anderson’s films have premiered at a wide variety of festivals, but after
“Moonrise Kingdom” (2012), “The French Dispatch” (2021) and his upcoming
ensemble comedy “Asteroid City,” Cannes is the fest he keeps coming back to.
Last week, I asked Anderson what he finds so compelling about a debut on the
Croisette.

“The reason to go to Cannes, I think, is because they said yes,” he deadpanned.
“After that, there isn’t really much to contemplate.”

Well, there’s a little more to it than that, Anderson admitted: For cinema
lovers, there is no holier pilgrimage to make than to the Cannes Film Festival,
where movies are treated with the utmost reverence and routinely given marathon
standing ovations.

It is a place where great auteurs have been canonized, like Martin Scorsese, who
won the Palme d’Or in 1976 for “Taxi Driver” and will return this year with his
new feature “Killers of the Flower Moon,” and Quentin Tarantino, a Palme winner
(for “Pulp Fiction” in 1994) and Cannes habitué who’ll be back at the fest this
year for a wide-ranging conversation that may touch on his upcoming final film.



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“I look at Cannes in relation to the other movies I know showed there, and I
feel lucky enough to be included in the program that debuted those films,”
Anderson said. “For me, it’s a chance to be involved in this movie history,
which I love.”


Image

A scene from “Elemental.”Credit...Disney/Pixar

Image

Harrison Ford in a scene from “Indiana Jones and the Dial of
Destiny.”Credit...Jonathan Olley/Lucasfilm Ltd.


A Cannes launch can be awfully expensive for a studio to bankroll, since the
airfare, star entourages and five-star hotels alone all add up. Still, the
return on investment can be major. Last year, “Top Gun: Maverick” launched with
a fawning Tom Cruise summit and sent fighter jets flying over the south of
France, while Baz Luhrmann’s “Elvis” threw a rock concert on the beach where
drones traced Elvis Presley’s silhouette in the sky. Both films leveraged their
splashy debuts to become some of the best-performing global hits of the year,
and were nominated for the best-picture Oscar, to boot.

This year, several star-driven films will attempt to capitalize on a Cannes bow,
including “Indiana Jones and the Dial of Destiny,” which is being billed as
Harrison Ford’s final appearance in his most iconic role. Can it overcome the
tepid response to the last sequel, “Indiana Jones and the Kingdom of the Crystal
Skull,” and the substitution of James Mangold (“Ford v Ferrari”) for Steven
Spielberg as director of the series? At least the addition of Phoebe
Waller-Bridge, in her most high-profile role since “Fleabag,” will add a welcome
jolt to the franchise.



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The director Todd Haynes, who premiered “Carol” at Cannes, returns to the
festival with another female-driven two-hander: “May December,” which stars
Julianne Moore as a teacher whose scandalous relationship with a former student
is scrutinized by a movie star (Natalie Portman) preparing to play the teacher
in a film. Other star-heavy films include “The New Boy,” featuring Cate
Blanchett as a nun in her first role since “Tár,” and “Firebrand,” with Jude Law
as Henry VIII and Alicia Vikander as his last wife, Katherine Parr.



And then there are “Asteroid City” and “Killers of the Flower Moon,” the fest’s
two most anticipated premieres. The former takes place at a 1950s retreat for
space-obsessed youngsters and stars Anderson staples like Jason Schwartzman,
Scarlett Johansson and Tilda Swinton, as well as new recruit Tom Hanks, about
whom Anderson said, “I couldn’t have had a better time working with anybody.”
Scorsese’s Apple-backed film charts the mysterious murders of the Osage tribe in
the 1920s and will bring stars like Leonardo DiCaprio and Robert De Niro to the
red carpet.


Image

Lily Gladstone and Leonardo DiCaprio in a scene from “Killers of the Flower
Moon.”Credit...Apple TV+

Image

Natalie Portman in a scene from “May December.”Credit...via Cannes Film Festival


(Still, weep for what might have been: Greta Gerwig’s candy-colored July release
“Barbie” will skip an early premiere at Cannes, depriving us of a red-carpet
fantasy to trump all others.)

In recent years, the winner of the prestigious Palme d’Or award has often gone
to a film with breakout-hit potential, like “Parasite” and “Triangle of
Sadness.” The director of the latter film, Ruben Ostlund, will preside over this
year’s competition jury, a group that includes Brie Larson and Paul Dano, and
they’ll be picking their favorite from an auteur-heavy lineup that includes
several former Palme winners.



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Among them are Wim Wenders, who took the Palme for “Paris, Texas” and returns
with “Perfect Days,” about a Tokyo toilet cleaner, and Hirokazu Kore-eda, whose
new film “Monster” is the first film he has shot in Japan since his Palme winner
“Shoplifters.” No director has ever taken the Palme three times, though Ken
Loach could this year, if his new working-class drama “The Old Oak” proves as
acclaimed as “The Wind That Shakes the Barley” and “I, Daniel Blake.”

This year’s Cannes has its fair share of long films — “Occupied City,” Steve
McQueen’s documentary about Nazi-occupied Amsterdam, runs four hours and six
minutes — but not every buzzy premiere will be feature-length. The fest will
also premiere shorts directed by Pedro Almodóvar (“A Strange Way of Life”) and
the late Jean-Luc Godard (“Phony Wars”), while launching “The Idol,” an
already-controversial HBO series from the “Euphoria” mastermind Sam Levinson
starring Abel “the Weeknd” Tesfaye.


Image

Eita Nagayama, right, in a scene from “Monster.”Credit...via Cannes Film
Festival

Image

A scene from “The Zone of Interest.”Credit...A24


And though the festival will offer G-rated pleasures in the form of Pixar’s new
film “Elemental,” it wouldn’t be Cannes without a few envelope-pushers. Keep an
eye on Catherine Breillat, whose sexually explicit filmography (“Fat Girl,”
“Romance”) gets a new entry with “Last Summer,” about a lawyer who falls for her
teenage stepson.

Then there’s the film I’m most curious about: “The Zone of Interest,” an
Auschwitz-set drama from the director Jonathan Glazer. Rumor has it that Cannes
passed on Glazer’s audacious “Under the Skin” back in 2013 and was eager to make
up for that mistake. Since Glazer’s films (“Birth” and “Sexy Beast”) are
infrequent but stunning, a new project from the director is reason enough to say
yes to Cannes — and after that, there isn’t really much to contemplate.








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