Alec Baldwin's Criminal Case Hinges on Wild West Revolver

An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
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Alec Baldwin's Criminal Case Hinges on Wild West Revolver

An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.

A Colt .45 "Peacemaker" revolver, a symbol of the American Wild West, is at the center of actor Alec Baldwin's fight to avoid criminal prosecution for the 2021 fatal shooting of "Rust" cinematographer Halyna Hutchins on a New Mexico movie set.
Baldwin's 15-month battle with New Mexico state prosecutors is heading towards a July 10 climax when the actor is scheduled to face trial for involuntary manslaughter over Hollywood's first on-set shooting with a live-round in modern times.
The movie's weapons handler Hannah Gutierrez was sentenced to 18 months imprisonment on Monday for Hutchins' death. Baldwin's legal team is trying to have his indictment thrown out. His lawyers could seek a plea bargain if that fails.
But should the charge hold, Baldwin's trial is likely to focus on whether he pulled the trigger of his reproduction 1873 Colt .45 after he said he was directed - either by director Joel Souza or Hutchins - to point it at the cinematographer, according to different statements he made to the police and then to media.
Baldwin argues that Hutchins died due to a breakdown in film industry firearms safety protocol, which as an actor he was not responsible for. According to Reuters, he said it was not his job to inspect the gun and that he did not pull the trigger after Gutierrez mistakenly loaded a live round instead of an inert dummy.
Firearms and legal experts do not expect a Santa Fe, New Mexico, jury to necessarily see it that way.
In the Southwest United States, where gun ownership is routine, there is a cultural norm to check whether a weapon is loaded and never point it at someone and pull the trigger, according to Ashley Hlebinsky, executive director of the University of Wyoming Firearms Research Center.
Some local jurors may not differentiate between handling a gun on a movie set or in real life. Persuading jury members, especially gun owners, that the revolver went off on its own could be a hard sell, said the firearms historian.
Still, Hlebinsky sees a possible path to acquittal for Baldwin: namely, the argument his lawyers laid out in their motion to dismiss that the gun was modified to make it "easier to fire without pulling the trigger." That motion is now being considered by a judge.
"The defense just have to put doubt into the head of the jury," said Hlebinksy, who has acted as a firearms expert in court cases on single action Colt .45-type revolvers similar to the "Rust" weapon. "I think they can definitely do that."
CONFLICTING ACCOUNTS
It was six weeks after the Oct. 21, 2021 shooting that Baldwin said in an ABC News interview with George Stephanopoulos that he did not pull the trigger of the Italian-made gun.
Days later, the actor told a New Mexico workplace safety inspector that the Pietta reproduction Colt Single Action Army revolver had no mechanical defect.
Baldwin's statement that the gun "went off" on its own, and his comment that it worked properly, are part of New Mexico state prosecutor Kari Morrissey's assertion that the "30 Rock" actor has "lied with impunity" about details of the shooting.
"They're going to have to walk back from that statement a bit," trial lawyer Neama Rahmani said of Baldwin's legal team.
The former federal prosecutor expected the actor's lawyers to frame the incident as "an accidental discharge," a term meaning the gun fired due to mechanical failure.
He said it was an unusual though not unheard of legal position, most often employed in cases where a defendant was seeking to reduce a charge from murder to manslaughter.
According to Baldwin's lawyers, someone filed down the full-cock notch of the long Colt .45 after it was supplied brand new to the production, to make it easier to fire.
Lucien Haag, an independent gun expert hired by the state, testified at Gutierrez's trial that the full-cock notch was worn down and broken off by FBI testing, rather than filing.
FBI tests of the gun found it was in normal working condition when it arrived at their lab in Quantico, Virginia, after the shooting. An investigator had to hit the hammer with a mallet to make it fire without pulling the trigger, the blows damaging the hammer and trigger, according to the FBI.
Baldwin risks jeopardizing his credibility if he changes his story on the trigger, said lawyer Kate Mangels. She expected him to continue to blame others for firearm safety failures as prosecutors accuse him of negligence, both as an actor and the film's most powerful producer.
"At this juncture it would be difficult for Baldwin's defense team to change course," said Mangels, a partner at entertainment law firm Kinsella Holley Iser Kump Steinsapir.
Hlebinsky, the firearms expert, said movie-set armorers she knows, who have seen pictures of the hammer on Baldwin's gun, are uncertain whether the full cock notch was worn down by mallet blows or filing. She expected Baldwin's legal team to find a firearms expert to testify it was the latter.
"I don't think anyone can say 100% what happened," she said of the gun.



Movie Review: ‘The Garfield Movie’ Is a Bizarre Animated Tale That’s Not Pur-Fect in Any Way 

This image released by Sony Pictures shows Garfield, voiced by Chris Pratt, in a scene from the animated film "The Garfield Movie." (Columbia Pictures/Sony via AP)
This image released by Sony Pictures shows Garfield, voiced by Chris Pratt, in a scene from the animated film "The Garfield Movie." (Columbia Pictures/Sony via AP)
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Movie Review: ‘The Garfield Movie’ Is a Bizarre Animated Tale That’s Not Pur-Fect in Any Way 

This image released by Sony Pictures shows Garfield, voiced by Chris Pratt, in a scene from the animated film "The Garfield Movie." (Columbia Pictures/Sony via AP)
This image released by Sony Pictures shows Garfield, voiced by Chris Pratt, in a scene from the animated film "The Garfield Movie." (Columbia Pictures/Sony via AP)

If you catch the latest Garfield movie, you might not expect to find the famous orange feline at one point running from bad guys on the top of a speeding train. Lasagna eating? Sure. But any sort of cardio?

Then prepare for “The Garfield Movie,” a curious new animated attempt to monetize the comic icon again by giving him an origin story and then asking him to do things a galaxy away from what he does in the funny pages. It's like if Snoopy ran an underground bare-knuckle fight club.

Chris Pratt voices the Monday-hating, self-centered hero and Samuel L. Jackson animates his long-lost father, who abandoned Garfield in an alley one rainy night, leading to lifelong trauma. That may explain his endless appetite, to fill the void of parental neglect. What does “The Garfield Movie” say about that idea? Are you kidding?

“The Garfield Movie,” directed by Mark Dindal, reunites Garfield and his not-so-savory dad — there's no mention of a mom and there are shades of the plots from “Kung Fu Panda 3” and "Chicken Run” — as he gets caught up in a criminal plot to raid a corporate dairy and steal thousands of gallons of milk.

Sorry, what was that? Garfield is perhaps the most indoor cat in history and seeing him dodge massive chopping blades or boulders onscreen is just plain weird. Making it even weirder is that his partner Odie — traditionally a drooling idiot — is remade here as highly competent, perhaps even a savant. This is not canon.

The movie gets mildly amusing as it recreates the kind of vent-crawling, security guard-avoiding heist in the dairy along to the theme from “Mission: Impossible” and that's largely because the gang is being directed by a bull voiced by Ving Rhames, a veteran of that franchise. There are also nods to “Top Gun”: I do my own stunts,” Garfield says. “Me and Tom Cruise.”

The script — by Paul A. Kaplan, Mark Torgove and David Reynolds— grounds the movie firmly in today, with Garfield using food delivery phone apps and Bluetooth, watching Catflix and characters declaring that they are “self-actualized.” There's also some pretty awkward product placement, like for Olive Garden, that may not send the message they wanted.

This is the part when we talk about food abuse. Garfield has a bit of a problem on this front, and the filmmakers more than lean into it. Thousands of pounds of junk food get inhaled by the tabby, but not salad. Heaven is described as an “all-you-can-eat buffet in the sky” and cheese is Garfield's “love language.” It's the laziest kind of writing.

There's a mini “Ted Lasso” reunion when Hannah Waddingham (playing a psychotic gang leader) and Brett Goldstein (as her henchman) appear, while Snoop Dogg has a cameo as the voice of a one-eyed cat and offers a song that runs over the credits.

The animation is pretty great — the backgrounds, at least. Ladders show rust and forests are lush, but then the main characters are a step or two less realized, more cartoonish. Jim Davis, who created Garfield, is an executive producer so he must be OK with all of this, a forgettable, unfunny animated slog. At one point, Garfield says “Bury me in cheese” and that seems a fitting final resting place for this cat's film career.


Election Year Trump Biopic ‘The Apprentice’ Premieres at Cannes 

Director Ali Abbasi poses close to photographers on the red carpet during arrivals for the screening of the film "The Apprentice" in competition at the 77th Cannes Film Festival in Cannes, France, May 20, 2024. (Reuters)
Director Ali Abbasi poses close to photographers on the red carpet during arrivals for the screening of the film "The Apprentice" in competition at the 77th Cannes Film Festival in Cannes, France, May 20, 2024. (Reuters)
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Election Year Trump Biopic ‘The Apprentice’ Premieres at Cannes 

Director Ali Abbasi poses close to photographers on the red carpet during arrivals for the screening of the film "The Apprentice" in competition at the 77th Cannes Film Festival in Cannes, France, May 20, 2024. (Reuters)
Director Ali Abbasi poses close to photographers on the red carpet during arrivals for the screening of the film "The Apprentice" in competition at the 77th Cannes Film Festival in Cannes, France, May 20, 2024. (Reuters)

"The Apprentice", Iran-born director Ali Abbasi's much-anticipated drama of a young Donald Trump's ascendancy as a New York real estate mogul, premiered at the Cannes Film Festival on Monday.

Part of the pull of the film is its timing, as Trump, now 77, looks to win another term as US president in November.

The film shares its title with the reality show that helped turn Trump into a household name.

Sebastian Stan, who made his name in the Captain America trilogy as the Winter Soldier, morphs into Trump, from his early stages as an upstart working for his father's business to a brazen, self-centered tycoon.

The story focuses on Trump's time under the tutelage of Roy Cohn, a political fixer best known for his involvement in Senator Joseph McCarthy's anti-communist scare campaigns of the 1950s and portrayed by "Succession's" Jeremy Strong.

His three rules for success, which Trump later takes credit for while speaking with the writer of his business advice book "The Art of the Deal", are prescient of his traits in office: deny everything, always be on the attack and never admit defeat.

Abbasi is known for his eclectic film repertoire, including 2022's Cannes entry "Holy Spider" about the killings of sex workers in Iran and "Border", a fantasy love story in Sweden.

Critics were mixed, praising for Stan and Strong while seeing the film's basis in actual events as a limitation.

"Sebastian Stan Plays Donald Trump in a Docudrama That Nails Everything About Him but His Mystery," read the headline for entertainment website Variety, while trade publication IndieWire pointed out that the film "can't get around the fact that Trump is too base and pathological to be of much dramatic interest".


Studio Ghibli Takes a Bow at Cannes with an Honorary Palme D’Or 

Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
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Studio Ghibli Takes a Bow at Cannes with an Honorary Palme D’Or 

Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)
Goro Miyazaki, left, and Kenichi Yoda pose for photographers with the Studio Ghibli honorary Palme d'Or upon arrival at the premiere of the film "The Apprentice" at the 77th international film festival, Cannes, southern France, Monday, May 20, 2024. (AP)

Studio Ghibli, the Japanese anime factory of surreal ecological wonders that has for 39 years spirited away moviegoers with tales of Totoros, magical jellyfish and floating castles, was celebrated Monday by the Cannes Film Festival with an honorary Palme d'Or.

In the 22 years that Cannes has been handing out honorary Palmes, the award for Ghibli was the first for anything but an individual filmmaker or actor. (This year's other recipients are George Lucas and Meryl Streep.) Hayao Miyazaki, the 83-year-old animation master who founded Studio Ghibli in 1985 with Isao Takahata and Toshio Suzuki, didn't attend the ceremony, but he spoke in a video message taped in Japan.

“I don't understand any of this,” said Miyazaki. “But thank you.”

At Cannes, where standing ovations can stretch on end, the fervor that greeted Ghibli's emissaries — Goro Miyazaki (son of Hayao) and Kenichi Yoda — was nevertheless among the most thunderous receptions at the festival. Thierry Fremaux, Cannes' artistic director, walked across the stage of the Grand Théâtre Lumière filming the long ovation, he said, for a video to send to Miyazaki.

“With this Palme d'Or, we'd like to thank you for all the magic you've brought to cinema,” said Iris Knobloch, the president of the festival, presenting the award.

The occasion wasn't marked by any new Ghibli film but four earlier shorts that hadn't previously been shown outside Japan. “Mei and the Baby Cat Bus,” a brief follow-up to Miyazaki's 1989 “My Neighbor Totoro,” expands the Cat Bus of that classic to a whole fleet of cat conveyances, most notably the mini Baby Cat Bus.

The shorts, all of which were made for the Studio Ghibli Museum outside Tokyo, included “Mr. Dough and the Egg Princess,” a culinary-themed desert for Miyazaki's 2001 film “Spirited Away.” The other two — “House Hunting” and “Boro the Caterpillar” — make musical mini-adventures for forest creatures.

The Studio Ghibli celebration came on the heels of Miyazaki's long-awaited “The Boy and the Heron” winning the Academy Award in March for best animated film. (A documentary on its making, “Hayao Miyazaki and the Heron,” also played in Cannes.)

Miyazaki sat out that ceremony, too. Goro Miyazaki, whose own films include “From Up on Poppy Hill” and “Tales From Earthsea,” said they had to use a hotel towel to wrap the Oscar to bring home to his father. On Monday, he was relieved by the portability of the Cannes prize.

“I'm reassured seeing the Palme d'Or was in a box,” he said, grinning.


Kevin Costner Jokes about Blocking Cannes Yachts to Finance ‘Horizon’ Films

US director Kevin Costner attends the press conference for "Horizon: An American Saga" during the 77th annual Cannes Film Festival, in Cannes, France, 20 May 2024. (Getty Images)
US director Kevin Costner attends the press conference for "Horizon: An American Saga" during the 77th annual Cannes Film Festival, in Cannes, France, 20 May 2024. (Getty Images)
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Kevin Costner Jokes about Blocking Cannes Yachts to Finance ‘Horizon’ Films

US director Kevin Costner attends the press conference for "Horizon: An American Saga" during the 77th annual Cannes Film Festival, in Cannes, France, 20 May 2024. (Getty Images)
US director Kevin Costner attends the press conference for "Horizon: An American Saga" during the 77th annual Cannes Film Festival, in Cannes, France, 20 May 2024. (Getty Images)

Kevin Costner joked at the Cannes Film Festival on Monday that he was ready to blockade rich people on their yachts unless they gave him money to finance his planned four-part Western series "Horizon: An American Saga."

The Hollywood star has already taken out a mortgage on 10 acres of his waterfront property in California to help fund the film project, which tells of the challenges faced by settlers expanding the American West in the late 1800s. Now, he needs more financial backing for the project.

"If we all went out together into this harbor and we stood in front of one boat. And didn't let those rich people off, and we can tell them, 'Look, you can dress up, you can walk on the red carpet,' you know..." Costner told a packed news conference.

"I have knocked on every boat in Cannes to help me. They say 'Ooh, come have a picture', I say 'No, come get your chequebook out. I want to see. Let's talk money," he added.

The first two parts are complete, with the 181-minute initial chapter premiering out of competition at the festival on Sunday. It will be released in North America and select European locations on June 28, followed by part two on Aug. 16.

Filming on the third chapter began before Costner set out for Cannes.

"This has been so hard. And it's not over yet," he told Reuters in an interview at the festival.

MIXED REVIEWS

Costner will star in, direct, produce and co-write the film series, which covers a 15-year period before and after the 1861-1865 Civil War when white settlers expanded westward in the United States, taking land from American Indians.

Costner's previous credits in Westerns include his Oscar-winning "Dances With Wolves" in 1990 and more recently as the star of the successful five-season TV series "Yellowstone."

"I can't fill every box every time I try to make a movie, but I'm absolutely conscious of what's at stake, and trying to represent people," Costner said at the news conference.

"Horizon," with Sienna Miller, Jena Malone, Abbey Lee and Dale Dickey among the cast, is also heavily oriented towards women, added Costner.

Reviews trended towards the negative, with Britain's The Guardian newspaper calling it "a big vain slog up familiar old west alleys," while another British newspaper, The Telegraph, said it would please those who pine for old-fashioned Westerns.

"Costner may have just invented granddad cinema," read The Telegraph headline.


The Unstoppable Duo of Emma Stone and Yorgos Lanthimos

Their collaboration has by now become so regular, and the talking points so scripted, that it would be easy to take it for granted. - The AP
Their collaboration has by now become so regular, and the talking points so scripted, that it would be easy to take it for granted. - The AP
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The Unstoppable Duo of Emma Stone and Yorgos Lanthimos

Their collaboration has by now become so regular, and the talking points so scripted, that it would be easy to take it for granted. - The AP
Their collaboration has by now become so regular, and the talking points so scripted, that it would be easy to take it for granted. - The AP

Before a journalist has even lobbed a question, Emma Stone and Yorgos Lanthimos spit out a string of overlapping answers.

“We have a great relationship,” begins Lanthimos. ‘“We just love working together,” adds Stone. “It was cool to do a modern-day piece.” “Going back to some of the early stuff,” says Lanthimos. “A throwback,” says Stone. “Our relationship has evolved over time,” Lanthimos adds.

“Totally,” says Stone.

Stone and Lanthimos have by now honed their patter. They're just barely removed from the Oscar campaign for “Poor Things,” which culminated in four Academy Awards, including best actress for Stone. Just two months later, they’re back together at the Cannes Film Festival with “Kinds of Kindness,” their third feature together and fourth film, counting the 2022 short “Bleat.”

“We do have a bit of a double act going on,” shrugs Stone, The AP reported.

Their collaboration has by now become so regular, and the talking points so scripted, that it would be easy to take it for granted. Minutes before they sat down for an interview in Cannes, a press release went out with the news that Lanthimos and Stone will soon begin shooting another movie together, titled “Bugonia.”

Opposite as they may seem — one a 35-year-old star from Arizona, the other a 50-year-old arthouse filmmaker from Athens — they’ve rapidly formed one of the movies’ strongest director-actor partnerships, a collaboration based on a shared sense of absurdity and a willingness to go, full-tilt, to some very strange places.

For Stone, the connection she feels with Lanthimos isn’t so different than the one she does with Nathan Fielder, the darkly deadpan comedian of “The Curse.”

“I don’t say this lightly even though I know it’s easy to use this word flippantly: They’re both geniuses," says Stone. “They are. I think it’s just an innate thing. It can’t really be taught or described. It’s just a way of seeing society and people. You’re actually both drawn to themes of: Why is this social structure like this? Why do we have these rules? How are we supposed to function within them?”

You can grasp a similar attitude in Lanthimos and Stone’s opening volley of answers to unasked questions, disarming the regular rhythms of an interview. Or in how Stone, every bit the movie star, constantly undercuts herself with self-deprecating sarcasm.

But you can most see it in their movies together. The aggressive period farce of “The Favourite." Bella Baxter’s childlike experience of social mores in “Poor Things.” In “Kinds of Kindness,” a triptych of extreme tales of controlling relationships, Lanthimos, working again with screenwriter Efthimis Filippou, continues his idiosyncratic examinations of social conformity.

“I got inspired by reading ‘Caligula’ by Camus,” Lanthimos says. “I just started thinking about one man’s control over other people’s lives. Then I thought it would be interesting to explore on a more personal level how that would feel, having someone be in total control over your life, even in the most minute detail.”

“Kinds of Kindness,” which Searchlight Pictures will release June 21 in theaters, was an opportunity for Stone (aside from “Bleat”) to work with Lanthimos in the style of his earlier films (“The Lobster," “The Killing of a Sacred Deer" ) with Filippou.

“It was the chance to finally be in that version of Yorgos’ mind,” Stone says. “Before I met him, obviously, those were the only ones I had seen.”

The two had discussed making “Kinds of Kindness” before “Poor Things,” but shot it in the aftermath of their Oscar-winner during its lengthy post-production process due to the film’s large amount of special effects.

“Do you remember we made this as fast as we could because we were like, ‘I don’t know what the hell is going to happen on “Poor Things?’” Stone reminds Lanthimos.

“Everyday after work, we’d talk about it. How was it? Did you watch the rushes? What do you think?” continues Stone. “And he’s like: ‘This is a disaster.’ Every single day. And I'd go, ‘OK, that’s what I thought.’”

Alternatively, “Kinds of Kindness,” Stone says “was free and happy and everyone’s going to love this.”

That might be surprising for anyone's who's seen the three-hour “Kinds of Kindness,” which uses largely the same company of actors across all three stories. (Among them: Jesse Plemons, Willem Dafoe and Margaret Qualley.) The three parts take stories of work-life balance, spousal suspicion and sexual abuse to severe, surreal lengths.

For Stone, “Kinds of Kindness” extends a run of daringly unconventional projects, including “The Curse” and Jane Schoenbrun's “I Saw the TV Glow,” which she produced, at a time when Stone could, by herself, help greenlight nearly anything.

“The common denominator of the things I’ve been a part of are that they’re things I want to watch,” Stone says. “That’s the only gauge that I have. If it’s not something that I would be like, ‘I gotta go see this the day it comes out,’ then it’s probably not a good fit for me.”

But she and Lanthimos may be shifting the bar for what constitutes “mainstream.” The brutal extremes of “Kinds of Kindness” have led to some, in comparing it to “Poor Things,” referencing their last one — an unabashedly profane coming-of-age tale about a dead woman reanimated with a child’s brain — like it was some kind of all-audiences crowd pleaser.

“It’s so funny to hear people talk about ‘Poor Things’ like the conventional film that we made,” says Lanthimos, smiling. “I get a little bit irritated but then I go, no wait, it’s great that people consider ‘Poor Things,’ like, a normal thing. We couldn’t get it made for 12 years.”

Yet at this point, Stone and Lanthimos’ collaboration is so continuous that the projects can bleed into each other. Take Stone’s already viral dance in “Kinds of Kindness,” a moment splashed through the film’s trailers. That was initially just something Stone was doing in between scenes on “Poor Things.”

“She would put on a song and dance like crazy,” says Lanthimos. “I was like, ‘I want you to do this in ‘Kinds of Kindness.’”


Trump Biopic Hits Cannes Film Festival

Kevin Costner and Sienna Miller premiered their Western "Horizon: An American Saga" at the festival. Sameer Al-Doumy / AFP
Kevin Costner and Sienna Miller premiered their Western "Horizon: An American Saga" at the festival. Sameer Al-Doumy / AFP
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Trump Biopic Hits Cannes Film Festival

Kevin Costner and Sienna Miller premiered their Western "Horizon: An American Saga" at the festival. Sameer Al-Doumy / AFP
Kevin Costner and Sienna Miller premiered their Western "Horizon: An American Saga" at the festival. Sameer Al-Doumy / AFP

A Donald Trump biopic and the latest dark creation by David Cronenberg premiere in Cannes on Monday as the world-famous film festival reaches its midway point.
"Emilia Perez", a musical about a narco boss having a sex change, is the audacious frontrunner so far, after 11 of the 22 entries for the top prize Palme d'Or have been seen, said AFP.
The festival -- considered the film industry's foremost get-together -- concludes with its award ceremony on Saturday, with "Barbie" director Greta Gerwig heading the jury.
But two more buzzy entries arrive on Monday.
"The Apprentice" is a biopic of Trump's formative years from Iranian-born director Ali Abbasi -- bound to stir up controversy in an election year for the United States.
It stars Sebastian Stan, best-known for playing the Winter Soldier in Marvel films, though he also won best actor at this year's Berlin Film Festival and widespread acclaim for his part as rocker Tommy Lee in series "Pam and Tommy".
Later, Cronenberg -- director of many body-horror classics like "The Fly", "Crash" and "Videodrome" -- returns to the Cote d'Azur festival with "The Shrouds".
Billed as his most personal film yet, it tells the story of a widowed businessman (Vincent Cassell) who invents a machine to monitor the dead in their graves.
It was partly inspired by the death in 2017 of Cronenberg's wife of 43 years.
"I don't really think of art as therapy," the Canadian director told Variety. "Grief is forever, as far as I'm concerned. It doesn't go away. You can have some distance from it, but I didn't experience any catharsis making the movie."
Among entries to score well with critics during the first week was "Bird", a gritty but sweet and fantastical tale about a young girl in working-class England from director Andrea Arnold.
"Kinds of Kindness", the latest bizarro team-up between Emma Stone and Yorgos Lanthimos, featured some ultra-dark comedy moments, including a thumb-and-cauliflower dinner.
"Megalopolis", the decades-in-the-making epic from Francis Ford Coppola, has perhaps been the most divisive entry, with some reviewers finding it a profound end-of-life work of philosophy, and others a barely comprehensible mess.
But the one to beat so far is "Emilia Perez", which has won a lot of acclaim for stars Zoe Saldana, Selena Gomez and trans actor Karla Sofia Gascon in the title role, as well as its risk-taking French director, Jacques Audiard, who already has a Palme d'Or under his belt.
Sagas
The festival has also seen glitzy out-of-competition launches for two Hollywood blockbusters that fancy themselves as "sagas".
The action-packed "Furiosa: a Mad Max Saga" received largely strong reviews, while Kevin Costner returned to his favorite Western genre with the three-hour "Horizon: An American Saga", just the first of four mooted chapters.
Like Coppola, Costner put millions of his own fortune into the decades-long passion project.
"At a certain moment I just said OK, I'm going to do this myself. And so I mortgaged property, I raised the money," he told AFP at the festival.
The early reviews were decidedly mixed, with The Hollywood Reporter deriding it as a "clumsy slog".
But Costner says he is unconcerned about losing his money.
"If they take it away from me, I still have my movie. I still have my integrity. I still listened to my heart," he said.


Report: Film Director Mohammad Rasoulof Fled Iran on Foot

Iranian director Mohammad Rasoulof poses on May 19, 2017 during a photocall for the film “Lerd” (A Man of Integrity) at the 70th edition of the Cannes Film Festival in Cannes, southern France. (AFP)
Iranian director Mohammad Rasoulof poses on May 19, 2017 during a photocall for the film “Lerd” (A Man of Integrity) at the 70th edition of the Cannes Film Festival in Cannes, southern France. (AFP)
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Report: Film Director Mohammad Rasoulof Fled Iran on Foot

Iranian director Mohammad Rasoulof poses on May 19, 2017 during a photocall for the film “Lerd” (A Man of Integrity) at the 70th edition of the Cannes Film Festival in Cannes, southern France. (AFP)
Iranian director Mohammad Rasoulof poses on May 19, 2017 during a photocall for the film “Lerd” (A Man of Integrity) at the 70th edition of the Cannes Film Festival in Cannes, southern France. (AFP)

Film director Mohammad Rasoulof made an "exhausting and extremely dangerous" walk across a mountainous borderland in order to avoid being jailed in Iran on national security charges, he told the Guardian newspaper.

Rasoulof said Monday he had fled Iran after a court sentenced him to eight years in jail, of which five were due to be served, over his new film "The Seed of the Sacred Fig".

The leading Iranian film-maker, often a target of the country's authorities, told the Guardian in an interview published Friday that he had found shelter in Germany and was hopeful he could attend the film's Cannes premiere next week.

The film tells the story of a judge's struggles amid political unrest in Tehran.

Rasoulof told the UK newspaper that he had "no choice" but to leave, although he expects to return home "quite soon".

"My mission is to be able to convey the narratives of what is going on in Iran and the situation in which we are stuck as Iranians," said Rasoulof.

"This is something that I cannot do in prison.

"I have in mind the idea that I'll be back quite soon, but I think that's the case of all the Iranians who have left the country," he added.

Rasoulof has already served two terms in Iranian jails over previous films and had his passport withdrawn in 2017.

Having decided to leave, Rasoulof told the newspaper he cut all communications via mobile phones and computers and made his way by foot on a secret route to a border crossing.

"It was a several-hour long, exhausting and extremely dangerous walk that I had to do with a guide," he said.

After staying in a safe house, he contacted German authorities who provided him with papers that enabled him to travel to Europe.


‘Triangle of Sadness’ Director Launches Stuck-on-a-Plane Dark Comedy at Cannes

 Director Ruben Ostlund and cast members Kirsten Dunst and Daniel Bruhl pose during a photocall for the film "The Entertainment System Is Down" at the 77th Cannes Film Festival in Cannes, France, May 18, 2024. (Reuters)
Director Ruben Ostlund and cast members Kirsten Dunst and Daniel Bruhl pose during a photocall for the film "The Entertainment System Is Down" at the 77th Cannes Film Festival in Cannes, France, May 18, 2024. (Reuters)
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‘Triangle of Sadness’ Director Launches Stuck-on-a-Plane Dark Comedy at Cannes

 Director Ruben Ostlund and cast members Kirsten Dunst and Daniel Bruhl pose during a photocall for the film "The Entertainment System Is Down" at the 77th Cannes Film Festival in Cannes, France, May 18, 2024. (Reuters)
Director Ruben Ostlund and cast members Kirsten Dunst and Daniel Bruhl pose during a photocall for the film "The Entertainment System Is Down" at the 77th Cannes Film Festival in Cannes, France, May 18, 2024. (Reuters)

Ruben Ostlund, two-time winner of the Cannes Film Festival's top prize and last year's jury president, returned to the festival in southern France to launch his next project on Saturday, a dark comedy about being stuck on a plane with no distractions.

"The Entertainment System Is Down" will star Kirsten Dunst and Daniel Bruehl as a couple whose relationship is put to the test on the 20-hour-plus plane ride from London to Sydney.

"When the iPhones and iPads are shutting out, they are doomed to deal with their own boredom," said Ostlund.

"And I'm going to look on this aspect, like taking away entertainment on a societal level, what happens then?"

Examining what happens when the rails come off of polite society has been a particular fixation of Ostlund's films, which include "Triangle of Sadness," "Force Majeure" and "The Square."

"I always want to work with people that, you know, push the boundaries of cinema," Dunst said at the launch. "That's always my dream to be a part of working with those type of filmmakers."

For filming, which is due to begin soon, the team has bought a Boeing 747, where 99% of the film will be set, said Ostlund.

"We have an airplane, a whole airplane, to not only build a section, but that you can walk from the cockpit all the way to the back so you can do longer tracking shots and really create a feeling of being in the space," said the Swedish director.


Richard Gere Drew on Father's Death for Role in Cannes Entry 'Oh, Canada'

Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
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Richard Gere Drew on Father's Death for Role in Cannes Entry 'Oh, Canada'

Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier
Cast member Richard Gere interacts with fans following the screening of the film "Oh Canada" in competition at the 77th Cannes Film Festival in Cannes, France, May 17, 2024. REUTERS/Sarah Meyssonnier

Richard Gere, once a Hollywood leading man, said he drew on his feelings following his father's death to bring emotional depth to his role in "Oh, Canada," for which he returned, after decades, to the Cannes Film Festival red carpet on Friday.
"It so resonated with my own emotional voyage with my dad, who was almost 101 when he passed away," Gere told Reuters.
"Paul (Schrader, the director,) wrote such a terrific script, moving script, filled with wonderful character stuff that it was very easy for me to say 'yes,'" he added.
Gere, 74, is almost unrecognizable as Leonard Fife, a man at the end of his life, intent on sharing the secrets of his youth with his wife of 30 years, played by Uma Thurman, on camera, using a technique he perfected as a celebrated documentary maker.
The film, which is competing for the film festival's top Palme d'Or prize, is told through flashbacks, with Jacob Elordi of "Euphoria" fame playing the younger version of Leonard.
Critics were lukewarm after the film's premiere, with The Guardian calling it "muddled, anticlimactic and often diffidently performed," while giving it two out of five stars.
"Oh, Canada" brings Gere back together with Schrader some four decades after the 1980 crime drama "American Gigolo."
"We're like old dogs now, you know? It's like, I was going to say old hookers, but I can't say that," Gere said.
"But there's a shorthand there. I mean, we didn't talk much during this, we just kind of figured out," he added.
The film is based on the novel "Foregone" by Russell Banks, a friend of Schrader's after he adapted "Affliction," with Nick Nolte, into the 1997 Oscar-nominated film of the same title.
The reason Schrader did "Oh, Canada"?
"Russell got sick. That simple," said Schrader, who recalled how hard-hit he was after Banks asked him not to visit because he was feeling bad due to cancer. Banks died last year.
"I knew he had written a book about dying when he was healthy, so I better read that book," said Schrader, 77. "And I read that book and I thought 'yep, that's what I should do'."
The director said he also had to confront his own mortality after a few hospital visits for long COVID and a broken bone.
"I was thinking, you know, maybe, maybe this is it," he said. "At that point, you start thinking about, well, if I've got one more film left, what should it be about?" he said.
"And, fortunately, my health has improved," Schrader said, adding that he still might have a few films in him yet.


Paul Schrader Felt Death Closing In, So He Made a Movie about It

 Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
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Paul Schrader Felt Death Closing In, So He Made a Movie about It

 Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)

After a string of hospitalizations for long COVID, Paul Schrader had a realization.

“If I’m going to make a film about death,” Schrader told himself, “I’d better hurry up.”

The health of the 77-year-old filmmaker, whose films and scripts have covered half a century of American movies, from “Taxi Driver” to “First Reformed,” has since improved. But that sense of urgency only increased when Russell Banks, a friend of Schrader’s since he adapted Banks’ “Affliction” into the 1997 film, began ailing. Banks died in 2023.

Schrader resolved to turn Banks’ 2021 novel “Foregone” into a film. At the time, he imagined it would be his last. But Schrader, who’s been as prolific as ever in the past decade, has said that before.

In 2017, he surmised that “First Reformed” was his final cinematic statement. Then he made 2021’s “The Card Counter.” And, after that came 2022’s “Master Gardener.”

“The irony is every time you think, ‘Well, that’s about it,’ you have a new idea,” Schrader told The Associated Press in an interview at the Cannes Film Festival.

On Friday, Schrader was to premiere his Banks’ adaptation, now titled “Oh, Canada,” at Cannes. It’s his first time back in competition in 36 years. And, particularly given that he’s joined this year by Francis Ford Coppola and George Lucas — all of them central figures of the fabled New Hollywood — Schrader’s Cannes return comes with echoes of the heyday of ’70s American moviemaking. “Taxi Driver,” which Schrader wrote, won the Palme d’Or here in 1976.

Schrader, though, allows for only so much nostalgia.

“It’s gotten aggrandized in the collective memory. There were a lot of bad films. There were a lot of bad players,” Schrader says of the ’70s. “However, it was the birth of the self-starting movement in cinema. So people like George and Francis and I, all film-school graduates like Marty, we all started our careers in this environment. That was a kind of a golden moment, but that doesn’t mean all the films were golden.”

“Oh, Canada,” which is seeking a distributor, is a kind of bookend to one of the films from that era: the 1980 neo-noir “American Gigolo.” Schrader reteams with Richard Gere decades after “American Gigolo” made Gere a star. Until now, Schrader says, the two hadn’t much discussed reuniting.

“Richard had been developing some mannerisms that I wasn’t entirely comfortable with as a director, and roles I wasn’t comfortable with,” Schrader says. “I was thinking more in terms of Ethan (Hawke) and Oscar (Isaac).”

But the idea of “Oh, Canada” as a kind of spiritual sequel to “American Gigolo” appealed to him. In the film, Gere stars as a revered Canadian filmmaker named Leonard Fife who, nearly on his deathbed, grouchily sits for an interview with documentary filmmakers. His wife (Uma Thurman) watches on as Leonard tells his life story, seen in flashbacks with Jacob Elordi playing the younger Fife, in the 1960s. We have the impression that Fife, who fled to Canada during the Vietnam War, is speaking more honestly than ever before.

“I thought the dying Gigolo — that put some spin on it. People are going to be interested in that, even though it’s not the same character at all,” Schrader says. “I could see that he had come out of retirement. He needs this, therefore he’ll do it for nothing.”

Schrader approached Gere with a few stipulations.

“I said, ‘I’ll send it to you on three conditions: One, that you read it right away. Two, that I get an answer in two weeks. And, three, that you understand my financial parameters,’” Schrader says. “He agreed. I said the same thing to (Robert) De Niro. Bob said, ‘Well, I agree to the first two but not the third one.’”

“So I didn’t send the script to Bob,” Schrader says, laughing.

Since the 2013 film “The Canyons,” which he directed from a Bret Easton Ellis script, Schrader has found a way to make the economics of independent filmmaking work for him.

“People thought that was all a kind of desperate career failure, but it was a glimpse into a new world. It was a trial run of how you do a film yourself,” says Schrader. “After that, I knew that you could make a film and get final cut. You could say to an investor: ‘I’m not going to make you rich — get that dog out of your head. But I think I’m going to make you whole. And I’m going to give you a credit and I’m going to put you on a red carpet somewhere. You could put your money into toasters or tires, or you could put it into this film.’”

The significant caveat to that, Schrader says, is that he came up in the old system of Hollywood. He’s not sure the same strategy could work for someone less established in today’s digital landscape.

“I got my head above the crowd when there was only 400 people in the room,” he says. “Now there’s 40,000 people in the room.”

But few filmmakers remain as engaged with current cinema as Schrader. He goes at least once a week to the movies and often posts brief reviews on his Facebook page. Jane Schoenbrun of “I Saw the TV Glow,” he recently wrote, is “hands down the most original voice in film in the last decade.” He liked the tennis drama “Challengers” (“Zendaya is a star”) but wrote: “The studios would have never let this slight a story run so long — on the other hand, the studios aren’t making this movie anymore.”

“You usually go to the movies because it’s something you want to see in a crowd,” Schrader says. “Like, I went to see ‘Cocaine Bear’ because I knew it would be great to see with an audience.”

“It’s not a particularly good time for film,” Schrader concludes as the interview winds down. “It’s not a bad time. It’s very easy to get a film made. It’s very hard to make a living.”