Cannes Diary: Uncanny women

by Elisa Giudici

WILD DIAMOND © Silex Films

On the second day of the competition, following that hour-long panel with Meryl Streep—whose charm, humor, and down-to-earth demeanor exceeded expectations—I delved into two films featuring tough, abrasive women capable of evoking genuine unease...

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Cannes at Home: Days 2 & 3 – Blood, Sweat & Tears

by Cláudio Alves

WILD DIAMOND (2024) Agathe Riedinger

The first two days of competition screenings have whipped up a storm at the Cannes Film Festival. Things started normal enough with Agathe Riedinger's Wild Diamond, this year's only feature debut vying for the Palme. Reactions were a tad tepid, but the same can't be said about Magnus van Horn's Girl with the Needle, which has horrified some viewers. All hell broke loose on the second day of competition, when both Andrea Arnold's Bird and Francis Ford Coppola's Megalopolis had their world premieres. The British auteur earned general praise, though some found it confounding. As for the American master's long-awaited opus, opinions are so divided that a chasm seems to have broken open across the Croisette. Some say it's a catastrophe of epic proportions, while others see value in its epic mess. Whatever the case, it sounds like a fascinating watch, even as reports from the troubled shoot have enmeshed the picture in controversy. 

Since Riedinger has no previous features, she won't be included in the Cannes at Home fest. For the other filmmakers, let's revisit Sweat, Red Road, and Apocalypse Now…

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