Cannes Sets Lineup with Lanthimos, Coppola and Trump Film ‘The Apprentice’

The logo of Cannes film festival before the press conference to present the 77th Cannes Film Festival Official Selection at the UGC Normandie hall in Paris, France, 11 April 2024.  (EPA)
The logo of Cannes film festival before the press conference to present the 77th Cannes Film Festival Official Selection at the UGC Normandie hall in Paris, France, 11 April 2024. (EPA)
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Cannes Sets Lineup with Lanthimos, Coppola and Trump Film ‘The Apprentice’

The logo of Cannes film festival before the press conference to present the 77th Cannes Film Festival Official Selection at the UGC Normandie hall in Paris, France, 11 April 2024.  (EPA)
The logo of Cannes film festival before the press conference to present the 77th Cannes Film Festival Official Selection at the UGC Normandie hall in Paris, France, 11 April 2024. (EPA)

New films from Yorgos Lanthimos, Andrea Arnold and Francis Ford Coppola, as well as a portrait of 1980s Donald Trump, will compete for the Palme d’Or at the 77th Cannes Film Festival next month, organizers announced Thursday.

Thierry Frémaux, Cannes’s artistic director who announced the selections in a news conference in Paris with festival president Iris Knobloch, said this year’s lineup was plucked from 2,000 submissions. Though Frémaux noted he went into the process concerned about the effect of last year’s strikes on American films, the lineup is typically full of top international filmmakers as well as a few hotly anticipated blockbusters.

Among the 19 films selected for competition is Lanthimos’ “Kinds of Kindness,” the Greek director’s follow-up to the Oscar-winning “Poor Things.” Its cast includes two stars of “Poor Things”: Emma Stone and Willem Dafoe.

Paolo Sorrentino, the Italian filmmaker of “The Great Beauty,” returns to Cannes with “Parthenhope,” a Naples-set drama co-starring Gary Oldman. Arnold, the British director of “American Honey” and “Fish Tank,” also returns to Cannes with “Bird,” starring Barry Keoghan and Franz Rogowski.

Sure to draw attention will be Ali Abbasi’s “The Apprentice,” a film about the former president’s early business career. In it, Sebastian Stan stars as Trump, Jeremy Strong plays Roy Cohn and Maria Bakalova co-stars as Ivana Trump. The Iranian director Abbasi was previously in competition at Cannes with 2022’s “Holy Spider.”

Numerous other big-name filmmakers are also returning to Cannes, which runs May 14-25. Among them: David Cronenberg (“The Shrouds,” with Vincent Cassel and Diane Kruger); Paul Schrader (“Oh, Canada,” with Richard Gere and Uma Thurman) and the lauded Chinese director Jia Zhang-Ke (“Caught By the Tides”). Also in competition are Sean Baker (“Anora”), whose “Red Rocket” and “The Florida Project” also premiered at Cannes; and the French filmmaker Jacques Audiard (“Emilia Perez”), who won the Palme in 2015 for “Dheepan.”

As previously reported, Francis Ford Coppola’s “Megalopolis” will premiere in competition in Cannes. The 85-year-old director’s self-financed, long-gestating epic will debut 50 years after his “The Conversation” won the Palme d’Or.

This year’s Cannes follows a banner 2023 edition that featured the premieres of three films that went on to win best-picture nominations at the Academy Awards: Martin Scorsese’s “Killers of the Flower Moon”; Jonathan Glazer’s “The Zone of Interest”; and Justine Triet’s Palme d’Or winner “Anatomy of a Fall.”

“Anatomy of a Fall” was only the third film directed by a woman to win the Palme. This year, there are four female filmmakers in competition. Frémaux said he may add further selections in the coming weeks.

Cannes had already lined up a few notable world premieres playing out of competition including George Miller’s “Furiosa: A Mad Max Saga” and Kevin Costner’s “Horizon, An American Saga.” George Lucas is set to receive an honorary Palme d’Or at the closing ceremony. The festival will kick off May 14 with the French comedy “The Second Act,” starring Léa Seydoux and Vincent Lindon.

Greta Gerwig, coming off the success of “Barbie,” is heading the jury that will decide the Palme d’Or.

One new addition this year: The festival is launching a competitive immersive section featuring works of virtual and augmented reality.



The Golden Trailer Awards: Hollywood’s ‘Oscars’ for Movie Previews

The gala started in 1999 when co-founders Monica Brady and Evelyn Watters were looking for a team to produce a trailer. (Getty Images/AFP)
The gala started in 1999 when co-founders Monica Brady and Evelyn Watters were looking for a team to produce a trailer. (Getty Images/AFP)
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The Golden Trailer Awards: Hollywood’s ‘Oscars’ for Movie Previews

The gala started in 1999 when co-founders Monica Brady and Evelyn Watters were looking for a team to produce a trailer. (Getty Images/AFP)
The gala started in 1999 when co-founders Monica Brady and Evelyn Watters were looking for a team to produce a trailer. (Getty Images/AFP)

The Golden Trailer Awards, which recognize the people behind Hollywood's best-made movie previews, returned for its 26th edition Thursday.

The gala started in 1999 when co-founders Monica Brady and Evelyn Watters were looking for a team to produce a trailer, only to find that those who worked in the field were practically anonymous.

"Trailer editors, the people creating some of the most memorable moments of the moviegoing experience, were completely unrecognized," Brady told AFP.

"They weren't credited on trailers, they weren't credited in films, and there wasn't even a directory to find them."

The pair, who remain as executive producers on the award show, oversaw 19 prizes given out during the inaugural ceremony in New York.

The ceremony was held in Los Angeles and recognized achievements in more than 100 categories.

The night's most coveted statuette for Best of Show went to the trailer for sci-fi movie "Project Hail Mary", starring Ryan Gosling, which was created by Wild Card Creative Group.

But what makes one movie trailer stand out from the rest?

"What makes a great trailer, first and foremost, is a great hook," Watters said.

- 'A tempting appetizer' -

An honoree will likely have "a fresh storyline, compelling characters, an emotional moment, and something audiences haven't seen before," she explained ahead of the ceremony.

"A winning trailer is a tempting appetizer, it is not the whole meal."

Taylor Engel, a creative director at Create Advertising Group -- which received 16 nominations this year for the company's work on trailers for "Sinners,Tron: Ares" and "Only Murders in the Building" -- said editing a trailer is like putting together pieces of a puzzle.

"We get materials at the beginning of the project, and it could be anything. Sometimes you get the movie, sometimes you get just dailies, you know, just the scenes that they shot," Engel said.

The challenge lies in combining the audio, video and editing effects to "tell maybe a different story or showcase the movie in some way."

Like film editing, movie trailers have evolved over the decades in Hollywood, and the crowded marketplace for attention has led to fierce competition.

Sometimes, the trailer ends up being better than the movie itself -- something that has become its own category in the Golden Trailer Awards.

Dubbed the "Golden Fleece," this year's nominees include trailers for the horror film "Shell" starring Elisabeth Moss and "The Strangers: Chapter 3."

- No AI used -

Despite the intense competition and demand, Engel said that the work in making movie trailers is not under the same pressure to utilize artificial intelligence as other sectors of Hollywood.

"Every cut is very specific in why you pair a shot with a certain piece of music," Engel said.

AI tools "may get better at recreating what's been done in the past, but what's exciting about trailers is when you see something that you've never seen before, you see it done in a different way," the creative director said.


In ‘Pressure,’ the Story of the Meteorologist Who Helped Save D-Day

 Anthony Maras, left, director/co-writer of the film "Pressure," poses with cast members Brendan Fraser, center, and Andrew Scott on Tuesday, May 12, 2026, in Los Angeles. (AP Photo/Chris Pizzello)
Anthony Maras, left, director/co-writer of the film "Pressure," poses with cast members Brendan Fraser, center, and Andrew Scott on Tuesday, May 12, 2026, in Los Angeles. (AP Photo/Chris Pizzello)
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In ‘Pressure,’ the Story of the Meteorologist Who Helped Save D-Day

 Anthony Maras, left, director/co-writer of the film "Pressure," poses with cast members Brendan Fraser, center, and Andrew Scott on Tuesday, May 12, 2026, in Los Angeles. (AP Photo/Chris Pizzello)
Anthony Maras, left, director/co-writer of the film "Pressure," poses with cast members Brendan Fraser, center, and Andrew Scott on Tuesday, May 12, 2026, in Los Angeles. (AP Photo/Chris Pizzello)

D-Day was supposed to happen on June 5, 1944. The story of why it ultimately took place on June 6 is one that has been a bit lost to history, consumed by the larger events surrounding it.

One day might not seem like much in the grand scheme, but it was a seismic delay in plans for the unprecedented and daring invasion, which would deploy nearly 160,000 Allied troops in Normandy.

Ultimately it came down to a recommendation from a shrewd Scottish meteorologist, Group Capt. James Stagg, who had to tell everyone, including Gen. Dwight D. Eisenhower and the Allied leadership, something they didn’t want to hear: The weather was going to be catastrophically bad. And no, he wasn’t certain about it.

The tense 72 hours before the invasion are brought to life in "Pressure," in theaters May 29, on the eve of the operation’s 82nd anniversary. An adaptation of David Haig’s acclaimed stage play, the film sheds light on this bit of history that would effectively change the course of the second World War.

Filmmaker Anthony Maras assembled a unique group of actors for the task at hand, calling on Brendan Fraser to play Eisenhower and Andrew Scott to play Stagg.

"I didn’t think I was an Ike Eisenhower when Anthony Maras sent me the script," Fraser said. "I got on a Zoom call and he said, ‘You gotta do this man.’ Me? Why? ‘It’s because he’s you, he’s like you. He’s just a regular guy.’ Really? I mean, I thought Eisenhower was this, you know, stern, staunch, something on coin."

Fraser went deep in his preparation, reading and listening to everything he could get his hands on to help him understand the man who would ultimately have to make the decision. The research even continued on set. Maras laughed that right before they shot Eisenhower’s famous "soldiers, sailors and airmen" speech, something that they’d rehearsed many, many times, he looked up and saw Fraser reading yet another biography. But he appreciated that the Oscar-winner was passionate about knowing everything he possibly could to get it right.

"He cared intensely for his troops," Fraser said. "It was my responsibility to honor their memory and to comport myself in a way that puts a human face on the seemingly academic decisions that go into an operation as massive as this."

Scott was the opposite in terms of how he approached his role. Yes, he read Stagg’s book and wanted to have a working understanding of the metrological jargon he’d have to be spouting. While history was important, for him, character was king. And he liked that Stagg is not the most immediately likable person, but he has integrity.

"The thing with Stagg is that he’s just not interested in charm ... or being liked at all," Scott said. "I think that’s to be admired actually, because he’s just there to do a job. So I like the fact that at the beginning of the movie, you’re like, whoa, this guy is not pleasant."

Maras said that for Scott, it was all about the inner, emotional life of the character, which was essential for a part that would require so much internal conflict.

"With Andrew, he has a quality to him where he can seemingly be doing very little — he’s sitting down, rearranging his tie, he can be reading a phone book — and you can’t look away," Maras said.

In the shadow of ‘Saving Private Ryan’

The actors weren’t the only ones feeling pressure of the assignment: Maras also had a behemoth looming in attempting to stage, however briefly, the D-Day invasion.

"You’ve kind of got to be crazy maybe to attempt it, given that Spielberg did it so masterfully," Maras said.

But unlike "Saving Private Ryan," which focused on the men storming the beach, "Pressure" is about the ones making the decisions. It’s a different perspective. Still, once they make the call to go, there would have to be at least some of the operation shown to juxtapose with the "bloody tense, wire-type atmosphere of the control room," Maras said.

Inspired by Peter Jackson’s World War I documentary "They Shall Not Grow Old," and the existence of dozens of hours of pristine 35 mm black and white film from the event, Maras decided that perhaps archival footage, colorized, would be the way to go. It was a different way to present D-Day that gave it immediacy, he said, as opposed to looking like history.

Ultimately, "Pressure" isn’t just a history lesson, or even a character drama with big personalities and even bigger stakes: It’s a portrait of leadership and ego clashing with facts and science. And its relevance to the present day is the reason Maras wanted to make the film in the first place.

"How do you bring your best self to the table to make the decision? How do you have the humility to acknowledge when you don’t know something? And how do you have the wisdom to determine who to trust? ... Eisenhower in the end showed that he was a maestro at that," Maras said.

"What I love about the Stagg character is he’s someone who feels compelled to tell someone something that they don’t want to hear, that they violently don’t want to but they need to hear. The world needs more of that."

Years later, John F. Kennedy, on the way to his own inauguration, asked Eisenhower what gave them the edge on D-Day. His response? "We had better meteorologists than the Germans."

"When life or death depends on you understanding the facts, it probably has a way of like cutting up the BS and getting to it," Maras said. "It’s a very clear example of a time where the Allied worlds’ future was at stake and they listened to someone who knew what he was talking about and they did all right."


Amazon Greenlights AI-Generated Shows for Children

A message reading "AI artificial intelligence," a keyboard and robot hands are seen in this illustration created on January 27, 2025. (Reuters)
A message reading "AI artificial intelligence," a keyboard and robot hands are seen in this illustration created on January 27, 2025. (Reuters)
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Amazon Greenlights AI-Generated Shows for Children

A message reading "AI artificial intelligence," a keyboard and robot hands are seen in this illustration created on January 27, 2025. (Reuters)
A message reading "AI artificial intelligence," a keyboard and robot hands are seen in this illustration created on January 27, 2025. (Reuters)

Amazon MGM Studios announced Wednesday it has greenlit the first three children's shows that were created under a new initiative to use artificial intelligence (AI) in content development.

The GenAI Creators Fund pays filmmakers, digital creators and startups to use AI to develop their projects in a short time frame.

"Punky Duck" series director Jorge Gutierrez said he is used to spending two years making a pilot, but his new show was greenlit to run on Amazon after just two months.

Two more projects -- "Diana Music Hunters" from Albie Hecht and "Cupcake & Friends" from Buzzfeed Studios -- were also greenlit in a couple of months, reflecting a new approach from major studios.

Hollywood's unions and artists have raised concerns about the use of AI, with creatives, writers and actors fearing they could be replaced by digital facsimiles.

AI Studios chief at Amazon MGM Albert Cheng told the conference that the technology won't eliminate jobs, it will actually reduce costs and timelines to make it possible to increase the number of productions.

But Cheng acknowledged "AI is addictive," adding that it's important for humans to make sure they don't "succumb and let our brains go to waste."