Entertainment

Back to Normal? Cannes Film Festival Prepares to Party

Published

3 years ago

May 15, 2022

FILE - Diane Kruger poses for photographers upon arrival at the premiere of the film "Everything Went Fine" at the 74th international film festival, Cannes, southern France on July 7, 2021. This year marks Cannes' 75 anniversary. (Photo by Vianney Le Caer/Invision/AP, File)

CANNES, France (AP) — After the 2020 Cannes Film Festival was canceled by the pandemic and the 2021 edition was scaled back — even kisses were forbade on the red carpet — the lavish French Riviera cinema soiree is set to return with a festival that promises to be something like normal.

Or at least Cannes’ very particular brand of normal, where for 12 days formal wear and film mingle in sun-dappled splendor, stopwatch-timed standing ovations stretch for minutes on end and director names like “Kore-eda” and “Denis” are spoken with hushed reverence.

What passes for the usual at Cannes has never been especially ordinary, but it has proven remarkably resilient to the fluctuations of time. Since its first festival, in 1946 on the heels of World War II, Cannes has endured as a maximalist spectacle that puts world cinema and Cote d’Azur glamour in the spotlight. This year marks Cannes’ 75 anniversary.

“Hopefully it will back to a normal Cannes now,” says Ruben Östlund, who returns this year with the social satire “Triangle of Sadness,” a follow-up to his Palme d’Or-winning 2017 film “The Square.”

“It’s a fantastic place if you’re a filmmaker. You feel like you have the attention of the cinema world,” adds Östlund. “To hear the buzz that’s going on, people talking about the different films. Hopefully, they’re talking about your film.”

This year’s Cannes, which opens Tuesday with the premiere of Michel Hazanavicius’ zombie movie “Z,” will unfold against not just the late ebbs of the pandemic and the rising tide of streaming but the largest war Europe has seen since WWII, in Ukraine. Begun as a product of war — the festival was initially launched as a French rival to the Venice Film Festival, which Benito Mussolini and Adolf Hitler had begun interfering with — this year’s Cannes will again resound with the echoes of a not-so-far-away conflict.

Cannes organizers have barred Russians with ties to the government from the festival. Set to screen are several films from prominent Ukrainian filmmakers, including Sergei Loznitsa’s documentary “The Natural History of Destruction.” Footage shot by Lithuanian filmmaker Mantas Kvedaravičius before he was killed in Mariupol in April will also be shown by his fiancée, Hanna Bilobrova.

At the same time, Cannes will host more Hollywood star wattage than it has for three years. Joseph Kosinski’s pandemic-delayed “Top Gun: Maverick” will be screened shortly before it opens in theaters. Tom Cruise will walk the carpet and sit for a rare, career-spanning interview.

“Every director’s dream is to be able to go to Cannes someday,” says Kosinski. “To go there with this film and with Tom, to screen it there and be a part of the retrospective they’re going to do for him, it’s going to be a once in a lifetime experience.”

Warner Bros. will premiere Baz Luhrmann’s splashy “Elvis,” starring Austin Butler and Tom Hanks. George Miller, last in Cannes with “Mad Max: Fury Road,” will debut his fantasy epic “Thee Thousand Years of Longing,” with Idris Elba and Tilda Swinton. Ethan Coen will premiere his first film without his brother Joel, “Jerry Lee Lewis: Trouble in Mind,” a documentary about the rock ‘n’ roll legend made with archival footage. Also debuting: James Gray’s “Armageddon Time,” a New York-set semi-autobiographical coming-of-age tale with Anthony Hopkins, Anne Hathaway and Jeremy Strong.

Far from all of Hollywood will be present. Cannes’ regulations regarding theatrical release have essentially ruled out streaming services from the competition lineup from which the Palme d’Or winner is chosen. This year’s jury is headed by French actor Vincent Lindon.

Last year’s Palme winner, Julia Ducournau’s explosive “Titane,” which starred Lindon, was only the second time Cannes’ top honor went to a female filmmaker. This year, there are five movies directed by women in competition for the Palme, a record for Cannes but a low percentage compared to other international festivals.

This year’s lineup, too, is full of festival veterans and former Palme winners, including Hirokazu Kore-eda (“Broker”), Christian Mungiu’s (“RMN”) and Jean-Pierre and Luc Dardennes (“Tori and Lokita”). Iconoclast filmmakers like Claire Denis (“Stars at Noon”), David Cronenberg (“Crimes of the Future”) and Park Chan-wook (“Decision to Leave”) are also up for the Palme, as is Kelly Reichardt, who reteams with Michelle Williams in “Showing Up.”

Even with a robust slate full of Cannes all-stars, how much can the festival really revert back to old times? Last year’s light-on-crowds edition included masking inside theaters and regular COVID-19 testing for attendees. It still produced some of the year’s most acclaimed films, including the best picture-nominated “Drive My Car,” “The Worst Person in the World” and “A Hero.” Cannes remains an unparalleled platform for the best in cinema, while still susceptible to criticisms of representation.

What’s not likely to return anytime soon is the same amount of partying that characterized the years where Harvey Weinstein was a ubiquitous figure at the festival. COVID-19 concerns aren’t gone. Attendees won’t be tested and are strongly encouraged to mask. Few non-streaming companies have the budgets for lavish parties. Crowds will be back at Cannes but to what extent?

“It’s going to be different than it’s ever been before,” says Tom Bernard, co-president of Sony Pictures Classic and a longtime Cannes regular. “Are they going to have parties? Are they going to have COVID concerns? Or is everyone going to go there and just try to ignore stuff?”

Bernard has noticed some practices in the Cannes market, where distribution rights for films are bought and sold, remain virtual. Initial meet-and-greets with sellers, in which executives and producers typically hop between hotels along the Croisette, have taken place largely on Zoom before the festival, he says. Deal-making has gotten more focused. Cannes, known for being both high-minded and frivolous, has perhaps grown slightly more sober.

“It’s a reshuffle of an event that’s always been sort of the same, in every way,” says Bernard. “The routine, I think, will change.”

One thing that can relied on with ironclad certainty at Cannes is frequent and ardent overtures to the primacy of the big screen, despite ongoing sea changes in the film industry. Some films, like Östlund’s, which co-stars Woody Harrelson, will hope to straddle the disparate movie worlds that collide in Cannes.

“The goal we set out for ourselves,” says Östlund, “was to combine the best parts of the American cinema with the European cinema, to try to do something that’s really entertaining and at the same time thought-provoking.”

Up Next

[PHOTOS] 2022 Cannes Film Festival: Opening Night Red Carpet Fully Returns with Unbridled Style

Don't Miss

McConnell, GOP Senators Meet Zelenskyy in Surprise Kyiv Stop

Click to comment

Entertainment

Love, Culture, and Comedy Collide in The Wedding Banquet (2025)

Published

5 days ago

April 18, 2025

Kareen Kennedy

ORLANDO, Fla. (FNN NEWS)- Arriving in theaters April 18, The Wedding Banquet (2025) brings a fresh and heartfelt perspective to the classic romantic comedy, blending cultural tradition, modern relationships, and the complexities of identity. Directed by Andrew Ahn (Spa Night, Driveways, Fire Island), the film is a reimagining of the beloved 1993 movie of the same name, now updated for a new generation with humor, warmth, and a stellar cast.

At the center of the story is Min, portrayed by Bowen Yang (Saturday Night Live, Wicked), a gay man who finds himself under pressure to maintain appearances for his traditional family. In a mutually beneficial arrangement, he agrees to a green-card marriage with his best friend, played by Kelly Marie Tran (Raya and the Last Dragon, Star Wars: The Last Jedi), who is seeking access to in vitro fertilization. The plan is simple—on paper.

Things take an unexpected turn when Min’s grandmother makes a surprise trip from Seoul and insists on throwing a full traditional Korean wedding banquet. What follows is a whirlwind of secrets, revelations, and genuine emotion as the pair tries to keep up the façade in front of loved ones while quietly confronting their own personal truths.

Rounding out the cast is Lily Gladstone, whose acclaimed, Oscar-nominated performance in Killers of the Flower Moon made her one of the most compelling actors to watch. Her role adds a grounded presence and emotional depth that further elevates the film’s dynamic ensemble.

This remake arrives at a particularly meaningful moment in cinematic history. The original The Wedding Banquet, directed by Ang Lee and released in 1993, was officially added to the U.S. National Film Registry by the Library of Congress in 2023. This prestigious recognition is reserved for films considered “culturally, historically, or aesthetically significant,” ensuring their preservation for future generations. The original broke new ground by bringing Asian American and LGBTQ+ stories into mainstream consciousness, and its selection by the Library of Congress underscores its enduring impact and relevance.

By reimagining The Wedding Banquet through a contemporary lens, Andrew Ahn not only honors the legacy of Ang Lee’s original but also introduces new audiences to a story that still resonates—one that navigates love, family, identity, and the universal human desire to be accepted. The 2025 version embraces both the comedic and emotional beats of the original while creating space for modern perspectives, representation, and storytelling.

With standout performances, sharp writing, and a balance of sincerity and laughter, The Wedding Banquet (2025) is more than just a romantic comedy—it’s a celebration of chosen family, cultural connection, and the beautifully messy ways we find love and acceptance.

Opening April 18—bring tissues, bring laughter, and don’t miss the invitation.

__________________________________________

Kareen Kennedy is the Assistant Editor for Florida National News
kareen.kennedy@floridanationalnews.com

Entertainment

Viola Davis Leads Amazon Prime’s G20 to #1 Streaming Spot, Redefines Action Hero as U.S. President

Published

7 days ago

April 16, 2025

FNN NEWS

LOS ANGELES, Calif. (FNN NEWS) – Oscar-winning actress Viola Davis has once again proven her star power and storytelling prowess in Amazon Prime Video’s newest blockbuster action-thriller G20, which has surged to become the platform’s most-watched movie since its release. Davis not only stars as U.S. President Danielle Sutton, but also served as a producer, helping bring this bold, global political thriller to life after seven years of development.

“This was a long road, but oh, so worth it!” Davis shared on Instagram, celebrating the film’s success. “@JuVeeProductions continues our mission to bring dynamic storytelling, characters, and actors that reflect the world—and, most importantly, to deliver a film that truly entertains.”

A GLOBAL CRISIS. A COMMANDER-IN-CHIEF LIKE NO OTHER.

In G20, President Danielle Sutton attends the G20 Summit in South Africa, but when a violent terrorist siege threatens the safety of world leaders and her own daughter, Sutton is thrust into a high-stakes survival mission. With communication lines cut and chaos unfolding, Sutton relies on her elite military background to outwit enemies and prevent a global catastrophe.

This isn’t your typical action flick—G20 is a pulse-pounding, character-driven political thriller that blends intense physical action with deep emotional gravitas. Davis’s portrayal brings raw humanity and strategic brilliance to the role, capturing a leader who is fearless, focused, and unshakably fierce.

BLACK-ISH REUNION, EMOTIONAL DEPTH

The film also features a compelling reunion of Anthony Anderson and Marsai Martin, best known as father and daughter in the hit sitcom Black-ish. In G20, they portray family in a much darker, higher-stakes environment, and their chemistry adds warmth, urgency, and authenticity to the story’s emotional core.

DAVIS’S CAREER MOMENTUM CONTINUES

Following her groundbreaking performance as General Nanisca in The Woman King (2022), Davis has continued to evolve her creative reach:

Narrated Disney’s Candlelight Processional (2022)
Portrayed Dr. Volumnia Gaul in The Hunger Games: The Ballad of Songbirds and Snakes
Voiced the villain in Kung Fu Panda 4 (2024)
Honored as a Barbie doll for International Women’s Day
Reprised her role as Amanda Waller in DC’s Creature Commandos animated series

“SEEING IT TO BELIEVE IT”: VIOLA’S MISSION FOR REPRESENTATION

To prepare for G20, Davis underwent intense physical training, but her purpose was clear.

“I did it to put every young Black girl in this story,” she explained.
“When you see it, you can believe it… So when you get the baton in your hand, that’s your new job—to pay it forward.”

G20 stars Viola Davis (Image via YouTube/Prime Video)

A MOVEMENT IN MOTION

G20 is more than a film—it’s a cultural statement. It proves that blockbuster action thrillers can be inclusive, thoughtful, and empowering while still delivering big on spectacle and suspense. Davis redefines the image of a global leader, showing the world that the face of power is diverse, capable, and here to stay.

Move over, Will Smith—Viola’s got the shades, the stance, and the state of emergency.

Once again, Viola Davis doesn’t just headline a movie—she leads a movement. And with G20 holding strong as Amazon Prime Video’s top-streamed film, the world is watching.

__________________________________________

Florida National News

Entertainment

Tate McRae Brings Her ‘Miss Possessive’ Tour to Orlando’s Kia Center

Published

1 week ago

April 16, 2025

Kareen Kennedy

ORLANDO, Fla. (FNN News) – Canadian singer, songwriter, and dancer Tate McRae is set to ignite the stage at Orlando’s Kia Center on September 13 and 14, 2025, with both performances commencing at 7:30 PM. These concerts are part of her highly anticipated Miss Possessive Tour, promoting her third studio album, So Close to What, released on February 21, 2025.

McRae’s journey from being the youngest finalist on So You Think You Can Dance at age 13 to becoming a multi-platinum artist is nothing short of remarkable. Her breakout single, “you broke me first”, paved the way for subsequent hits like “Greedy” and “Sports Car”, establishing her as a force in the pop industry. Orlando Theatre

Joining McRae on the tour is Swedish pop sensation Zara Larsson, known for chart-toppers like “Lush Life” and “Ruin My Life”. Their collaboration promises an unforgettable evening of dynamic performances and catchy melodies. Live Nation

Tickets for the Orlando shows are available through Ticketmaster and the Kia Center’s official website. Given McRae’s rising popularity and the tour’s demand, fans are encouraged to purchase tickets early to ensure attendance.

For additional event details, including parking information and venue policies, visit the Kia Center’s event page.

Don’t miss the opportunity to experience Tate McRae’s electrifying performance and hear tracks from her latest album live in Orlando.

__________________________________________________________________________________________________

Kareen Kennedy is the Assistant Editor for Florida National News
kareen.kennedy@floridanationalnews.com