THE WORLD’S GREATEST FILM FESTIVAL RETURNS, AND SO DOES OUR ANNUAL CANNES MAGAZINE
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TABLE OF CONTENTS
Cannes Market Preview: An Industry, and a Market, in Flux
“Return to normal” has been the hopeful theme of the Cannes Film Festival market for the last few years as the industry attempted to recover from the pandemic. But the theme of 2024 should probably be “return to new normal” as the industry experiences an ongoing period of contraction following the burst of activity brought on by the streaming boom.
BY ADAM CHITWOOD
Our Critic’s Take: Cronenberg and Coppola are among the key names at the 77th Cannes
Writing in this space in 2015, TheWrap’s Alonso Duralde likened the Cannes Film Festival to the anti-Comic-Con: a kind of One For Them/One For Me point of exchange where promising stars could cash in franchise loyalty for a shot at prestige. Our critic was spot-on then and all the more prescient now: How else could one describe a 77th edition that might turn a superhero soldier into an awards darling on the strength of a certain hot-button political biopic?
BY BEN CROLL
Directors Portfolio: 36 of the Biggest Filmmakers at This Year’s Festival
As we do every year, TheWrap is celebrating the Cannes Film Festival by spanning the globe in photos of directors from all sections of the festival. This year’s portfolio consists of three dozen directors shot in 18 cities on four continents and stretches from Buenos Aires to Burbank, Avignon to Zgierz, Shanghai to Strasbourg — with, as usual, plenty of stops in Paris, Los Angeles and New York.
Kevin Costner, “Horizon, An American Saga,” Out of Competition
Yorgos Lanthimos, “Kinds of Kindness,” Main Competition
Ron Howard, “Jim Henson: Idea Man,” Cannes Classic
David Cronenberg, “The Shrouds,” Main Competition
Noémie Merlant, “The Balconettes,” Midnight Screenings
Oliver Stone, “Lula,” Special Screening
Oliver Stone, “Lula,” Special Screening
Emma Benestan, “Animale,” Critics’ Week: Special Screenings
Raoul Peck, “Ernest Cole: Lost and Found,” Special Screenings
Karim Aïnouz, “Motel Destino,” Main Competition
Jacques Audiard, “Emilia Perez,” Main Competition
Sandhya Suri, “Santosh,” Un Certain Regard
India Donaldson, “Good One,” Directors’ Fortnight
Federico Luis, “Simon of the Mountain,” Critics’ Week
Sean Baker, “Anora,” Main Competition
Louise Courvoisier, “Holy Cow,” Un Certain Regard
Antoine Chevrollier, “La Pampa,” Critics’ Week
Sergei Loznitsa, “The Invasion,” Special Screenings
Boris Lojkine, “The Story of Souleymane,” Un Certain Regard
Constance Tsang, “Blue Sun Palace,” Critics’ Week
Magnus Von Horn, “The Girl With the Needle,” Main Competition
Hiroshi Okuyama, “My Sunshine,” Un Certain Regard
Payal Kapadia, “All We Imagine as Light,” Main Competition
Michel Hazanavicius, “The Most Precious of Cargoes,” Main Competition
Carson Lund, “Eephus,” Directors’ Fortnight
Matthew Rankin, “Universal Language,” Directors’ Fortnight
Peter Ho-Sun Chan, “She’s Got No Name,” Out of Competition
Konstantin Bojanov, “The Shameless,” Un Certain Regard
Jonathan Millet, “Ghost Trail,” Critics’ Week: Special Screenings
Tyler Taormina, “Christmas Eve in Miller’s Point,” Directors’ Fortnight
Julien Colonna, “Le Royaume,” Un Certain Regard
Jonás Trueba, “The Other Way Around,” Directors’ Fortnight
Laetitia Dosch, “Dog on Trial,” Un Certain Regard
Roberto Minervini, “The Damned,” Un Certain Regard
Halfdan Ullmann Tøndel, “Armand,” Un Certain Regard
Emanuel Parvu, “3 Kilometers to the End of the World,” Main Competition
Kirill Serebrennikov, “Limonov—The Ballad,” Main Competition
Painful Truths: Diane Kruger on Art, Death and Cannes
For Diane Kruger, Cannes is a lifelong personal experience. The world’s most potent and dazzling film festival, now in its 77th year, has been the locale for many of the significant twists in the German actress’ singular career. This year, Kruger returns with David Cronenberg’s highly anticipated “The Shrouds.”
BY JOE MCGOVERN
‘The Apprentice’: Mentoring Trump
Donald Trump has had a presence at Cannes in recent years, notably in James Gray’s semi-autobiographical “Armageddon Time” two years ago. But a movie about the real estate mogul turned president, by the Iran-born, Denmark-based director of the dark and dramatic films “Border” and “Holy Spider”? That’s the fascinating and frightening prospect of Ali Abbasi’s “The Apprentice.”
BY STEVE POND
