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)
TT

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.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
TT

Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.