Cannes Diary #3: A stubborn wife, a great grandpa and... a donkey?

by Elisa Giudici

While I was on screening duty, Hollywood glamour was on shift-change with Tom Cruise out and Julia Roberts in. Roberts was here to hand the Chopard Awards to new promises of world cinema (Jack Lowden and Sheila Atim) and to enjoy a marvelous party, as I've heard from friends that witnessed it firsthand. But as for the movies, I am happy to report that on the second day of the competition (the third since opening nightl) we already have a soon-to-be infamous scene with the immense Isabelle Huppert as a momentary protagonist. Some weird festival stuff is coming, brace yourself...

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Yes, No, Maybe So? 'Mrs Harris Goes to Paris'

by Nathaniel R

Lesley Manville stars as Mrs. Harris in director Tony Fabian’s MRS.HARRIS GOES TO PARIS, a Focus Features release. Credit: Dávid Lukács / © 2021 Ada Films Ltd - Harris Squared Kft

Rejoice. We now have the first poster, the first still, and the first trailer for Mrs Harris Goes to Paris, a rare chance to see Lesley Manville take a deserved spotlight rather than just livening up a show or film from the sidelines. Focus Features is releasing the film on July 15th. Can we have a round of applause for Focus which feels like its come roaring back of late between this, Downton Abbey A New Era, Licorice Pizza, The Northman, and Belfast of late? 

Let's look at the poster and the trailer after the jump...

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César Winners: Cate Blanchett, 'Annette', and 'Lost Illusions'

by Nathaniel R

Cate Blanchett and Isabelle Huppert backstage at the Césars (that's Ronald Chammah, Isabelle's man, between them)

France's top awards, the Césars, were held last night. The historical costume drama Lost Illusions which had led the nominations took home the most prizes including Best Film. But all was not lost for its competition since all but one of them won at least one César. The thorny musical tragedy Annette was the runner up in terms of wins even repeating the Best Director win at Cannes for Leos Carax. And of course Cate Blanchett took the Honorary César and was introduced by Isabelle Huppert herself.

The winners and comments and a few videos from the show are after the jump. (If we've written about the film, it's linked up)...

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Nathaniel in Venice: "Atlantide" and "The Lost Daughter"

Nathaniel reporting from Venice. Day 2

"Atlantide" is a stunner. And better yet, Venice specific!

My second day of the fest was a day of high highs and low lows. The high (other than the movies) was that it was a full social day. That doesn't always happen at festivals but it is like a shot of energy for extroverts like myself. The fun began meeting two Spanish journalists on the ferry to the Lido who introduced themselves since they read The Film Experience. We had a great conversation about the new Almodóvar and they totally sold me on the idea of the San Sebastian Film Festival -- new goal! Then between films a quick drink with longtime friend Boyd van Hoeij (who you've heard on the podcast a couple of times) and then a late night very Italian dinner with our own Elisa Giudici. She's been our Italian correspondent at TFE for a year now (kicking it off with last year's Venice summary) but this was our first time actually meeting in person. She's such a delight in person, as personable and fun as her writing. I'm really quite chuffed to be sharing this Venice experience with her.

The low was very low realizing that this full day of screenings wasn't going to be the norm...

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Elisa's Venice Diary #1: Almodovar, Campion. Here are lions.

by Elisa Giudici

What a start! There's a way of saying in Italian: il buon giorno si vede dal mattino. It means you can tell if something is remarkable from the very beginning, as you can judge how a day will be by the way it begins. Well, the first day of my fifth year as a press pass holder in Venice was so amazing I am not going to tell you if I liked what I saw, but how much I enjoyed every single title.

PARALLEL MOTHERS by Pedro Almodóvar
I was unsure about the opening movie of Venezia 78 due to Pain and Glory: how to follow up such an intimate, powerful, memorable movie (the kind of film a director puts his entire life in it, and that he or she can only make once or twice in a career). How can the follow up be anything but a disappointment? Happy to report Pedro Almodóvar is far from having finished the meaningful things he wants to say while endlessly rearranging his favorite themes and actresses...

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