By Jake Coyle, Film Writer
CANNES, France (AP) --As the red carpet unfurled Tuesday at the 72nd Cannes Film Festival and Jim Jarmusch's zombie comedy "The Dead Don't Die" was set to premiere, jury president Alejandro Inarritu criticized U.S. President Donald Trump's plans for a Mexican border wall and lamented his tweets as "bricks of isolation."
Inarritu, the Mexican-born filmmaker of "Birdman" and "The Revenant," is the first Latin American to preside over the jury that decides Cannes' top honor, the Palme d'Or. Addressing reporters on the festival's opening day alongside fellow jury members, Inarritu drew a parallel between the rhetoric of Trump to that of the 1930s.
"We know how this story ends if we keep with that rhetoric," said Inarritu. "We think we are evolving with the technology and social media. It seems every tweet is a brick of isolation attached to ideological things and is creating a lot of isolation and paranoia."
This year's Cannes arrives with the usual swirl of celebrity and controversy. Among the starrier films debuting at the festival on the French Riviera will be Quentin Tarantino's 1969 Los Angeles tale "Once Upon a Time in Hollywood" and the Elton John biopic "Rocketman."
Also on tap are the latest from renowned auteurs Pedro Almodovar, Terrence Malick and the Dardennes brothers. Also of interest will be the debut from Mati Diop, "Atlantique," which marks the first black woman filmmaker in competition in Cannes.
Last year's Cannes saw 82 women, which represented the number of women directors to ever appear in competition in Cannes, protest for gender inequality on the festival's famed red carpet steps. Cannes artistic director Thierry Fremaux signed a pledge promising to make the festival's selection process more transparent and to push executive boards toward gender parity.
This year, there are four women in Cannes' 21-film main slate, tying the festival's previous high in 2011. For the first time, Cannes has revealed gender-based statistics on its submissions and selections, a measure of transparency that had been requested by 50/50X2020, the French sister group of Time's Up. Fremaux on Tuesday defended the festival's record, bristling at critics who have said Cannes isn't progressing quickly enough.
"I'm looking forward to time when we come and we don't have to say 'the women directors' and 'as a woman,'" said juror member Kelly Riechart, the "Wendy and Lucy" filmmaker and a jury member
"People keep asking us what's it like being a woman director," said Italian filmmaker and Cannes regular Alice Rohrwacher, also a jury member. "It's a bit like asking someone who's survived a shipwreck why they're still alive. Well, ask the person who built the boat."
Also on the jury are "The Favourite" director Yorgos Lanthimos, Poland's Pawel Pawlikowski ("Cold War"), French director Enki Bilal, Senegalese actress-director Maimouna N'Diaye, French filmmaker Robin Campillo and actress Elle Fanning.
At 21, Fanning is the youngest juror ever in Cannes.
"I definitely am young but I started acting very young, as well," said Fanning, whose first movie role came at age four.
As was the case last year, there are no Netflix releases in competition at Cannes. Following an outcry from French theater owners, the festival has required films in its main slate to have theatrical distribution in France. Netflix, unwilling to adhere to an exclusive theatrical window of three years in France, last year pulled its films, including Alfonso Cuaron's "Roma."
Inarritu, a close friend of Cuaron's, said "cinema was born to be experienced in a communal experience." But he spoke strongly in support of Netflix for backing the kinds of movies — including those in a country's native language — that rarely make it into U.S. and global cinemas.
"They have been capitalizing on the lack of these films," said Inarritu. "Why not give the choice to people to experience cinema?"
Some previous Cannes jury presidents have had a forceful influence on the movies chosen for awards. But Inarritu, who said he didn't want to "judge" movies but preferred "to be impregnated by them," promised he would be a very passive jury leader.
"I have never controlled anything," said the director. "Not my sets, not my family, nothing."
Carrie Coon Relishes Being Part Of An Ensemble–From “The Gilded Age” To “His Three Daughters”
It can be hard to catch Carrie Coon on her own.
She is far more likely to be found in the thick of an ensemble. That could be on TV, in "The Gilded Age," for which she was just Emmy nominated, or in the upcoming season of "The White Lotus," which she recently shot in Thailand. Or it could be in films, most relevantly, Azazel Jacobs' new drama, "His Three Daughters," in which Coon stars alongside Natasha Lyonne and Elizabeth Olsen as sisters caring for their dying father.
But on a recent, bright late-summer morning, Coon is sitting on a bench in the bucolic northeast Westchester town of Pound Ridge. A few years back, she and her husband, the playwright Tracy Letts, moved near here with their two young children, drawn by the long rows of stone walls and a particularly good BLT from a nearby cafe that Letts, after biting into, declared must be within 15 miles of where they lived.
In a few days, they would both fly to Los Angeles for the Emmys (Letts was nominated for his performance in "Winning Time" ). But Coon, 43, was then largely enmeshed in the day-to-day life of raising a family, along with their nightly movie viewings, which Letts pulls from his extensive DVD collection. The previous night's choice: "Once Around," with Holly Hunter and Richard Dreyfus.
Coon met Letts during her breakthrough performance in "Who's Afraid of Virginia Wolfe?" on Broadway in 2012. She played the heavy-drinking housewife Honey. It was the first role that Coon read and knew, viscerally, she had to play. Immediately after saying this, Coon sighs.
"It sounds like something some diva would say in a movie from the '50s," Coon says. "I just walked around in my apartment in my slip and I had pearls and a little brandy. I made a grocery list and I just did... Read More