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The opening of the 71st iteration of the Cannes Film Festival is upon us, along with all the pomp and splendor that it entails. As usual, the festival is a temple to both cinema and extreme sensuous hedonism, with tremendous parties thrown by film companies and oligarchs on private yachts (some of which dwarf many small islands, and some of these Tablet’s correspondent will do his best to attend for the sake of our readers).
Another annual tradition also lovingly kept up is the surfeit of political and legal drama accompanying the world’s most glamorous film festival. Terry Gilliam’s The Man Who Killed Don Quixote, a near mythical production awaited by fans of cinema for decades, will be screened after all as the Festival’s closing film in the wake of a last-minute Paris court decision to throw out a lawsuit from an irate producer and his lawyer son. (The Festival sent out a gloating triumphalist press release earlier today claiming to be “a unique forum for freedom of expression.”) Elsewhere, the renowned French filmmaker Jean-Luc Godard, long accused of anti-Semitism, announced at the start of the competition that he would be joining a boycott of Israeli cinema by several dozen French film-industry professionals. Numerous campaigns for increased representation of women in competition ended with institutional disappointment as only a handful being selected, despite the ghost of Harvey Weinstein hovering over festivities. A pair of celebrated Russian and Iranian dissident film makers in the competition program were not allowed to travel to their openings because of house arrests by their respective nations. Continue reading "Fake News From Cannes: Sergei Loznitsa's Dark, Formalist 'Donbass'" at... |