It's a strange way of life indeed at the 76th Cannes Film Festival, where rough weather, scandal-mired movies and Indiana Jones collide, writes Times film critic JustinCChang :
At the presser for Cannes opener ‘Jeanne du Barry,’ Depp had choice words for Hollywood, the press and his ‘tower of mashed potato’ critics.
There isn’t much more to say. The movie is a polished, well-made affair but also a disappointingly juiceless one, with little of the messy go-for-broke filmmaking energy that Maïwenn has brought to better, rougher works likeIts one interesting idea — here were two characters whose breaches of decorum and protocol scandalized a rigidly structured, wackily dressed and hopelessly preening French aristocracy — is interesting mainly as a commentary on Cannes itself.
A superior opening-night film screened Wednesday in Directors’ Fortnight, an independently organized event that runs parallel to the festival’s official selection. Located just a few minutes’ walk up the Croisette, the Fortnight this year smartly chose to kick off with “The Goldman Case” , Cédric Kahn’s impeccably written and furiously acted re-creation of the 1976 murder trial of the French far-left intellectual and activist Pierre Goldman .
Meanwhile, the official competition got off to a solid if not overwhelming start with “Monster” and “Homecoming” , two very different, equally absorbing family dramas that touch on ideas of cross-generational misunderstanding. “Monster,” the latest from the prolific and much-beloved Japanese auteur Hirokazu Kore-eda, employs a three-part parallel structure to tell the story of a devoted single mom , her troubled young son and a schoolteacher who’s accused of violence against a student.
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