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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
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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.

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How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
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How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)

Paris broke with tradition on Friday by turning the Olympic Opening Ceremony into a parade down the River Seine rather than a stadium-based show.

TV viewers around the world were treated to a spectacle performed on bridges, the riverbank and rooftops, culminating with French athletes Marie-Jose Perec and Teddy Riner lighting the Olympic cauldron and a performance from Canada's Celine Dion.

However, the 6,000-odd athletes, 3,000 performers, 300,000 spectators and dozens of world leaders had to endure heavy rain for much of the event.

Here's how the world's media judged Paris's ambitious ceremony:

FRANCE

Newspaper Le Monde wrote in a rave review that director Thomas Jolly "succeeded in his challenge of presenting an immersive show in a capital transformed into a gigantic stage".

Right-leaning Le Figaro said the show was "great but some of it was just too much". It said viewers "could have been spared" images including an apparent recreation of the painting of The Last Supper of Jesus and his apostles in front of a fashion show.

UNITED STATES

"Opening Ceremony Misses the Boat" headlined the New York Times's television review.

It wrote that the river parade "turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle".

The Washington Post was more glowing, noting that the organizer's "bold thinking" brought a shine back to an event that has seen its popularity wane in recent years.

CHINA

China's Xinhua state news agency said the ceremony succeeded in showcasing France.

"There were Can-Can girls, a homage to the reconstruction of Notre Dame and of course the French Revolution, with fireworks, heavy metal and singers who appeared to have lost a battle with the guillotine.

"If there was a downside to the ceremony, it is that any event performed over such a long distance has to struggle with continuity, and the big difference between this ceremony and others is that the parade of athletes was mixed in with the performances."

SOUTH KOREA

South Korean media noted the "impressive" imagination of using the whole city as the backdrop but the event was overshadowed by the country's team being misintroduced as North Korea.

South Korea's CBS radio said while the incident was no doubt an honest mistake, it was disappointing the Paris organizers failed at what should have been a very basic part of the event.

GERMANY

"As beautiful as it was mad," wrote Germany's Frankfurter Allgemeine. "France revolutionized the opening ceremony ... by the end even the rain had been defeated."

Tabloid Bild was bowled over by Celine Dion's return to the stage after four years, defying illness to "sing just as in the best of times. She deserves a gold medal for this performance."

BRITAIN

British tabloid The Sun joked "Wet The Games Begin!" on its front page alongside an image of the Eiffel Tower surrounded by laser beams, and described the ceremony as spectacular.

The Daily Mail's headline read "La Farce!", mainly in reference to the train disruption earlier in the day, but the paper also judged Paris's gamble on the weather had "backfired spectacularly".

A writer for the Guardian newspaper described the parade of boats on the Seine as "like watching an endless series of weirdly nationalistic office parties" but concluded Celine Dion had rescued the event with a "jaw dropping" performance.

ITALY

La Gazzetta dello Sport said the ceremony was "something unprecedented, even extraordinary. A great show or a long, tedious work, depending on your point of view and sensibility."

The mainstream Italian newspaper Il Corriere della Sera likened the show to a contemporary art performance, noting that "some (spectators) were bored, others were amused, many found the spectacle disappointing".

The left-leaning Italian daily La Repubblica said the ceremony overshadowed the athletes.

"A lot of France, a lot of Paris, very little Olympics.... a mirror that the immortal Paris turned on herself and discovered that she was so much, too much and soaking wet".