Entertainment
Back to Normal? Cannes Film Festival Prepares to Party
Published
4 years agoon
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.”
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Entertainment
Bad Bunny’s Halftime Show Was a Master Class in American Culture
Published
3 weeks agoon
February 19, 2026A reminder that diversity is not a threat — it is America’s strength.
By The Honorable Rick Singh
Former Orange County Property Appraiser
Bad Bunny’s halftime performance reminded us of something every American needs to hear right now:
We may come from different places, but we share far more in common than we sometimes realize. Our greatest strength has always been our willingness to embrace diversity — not fear it.
As an elected official, I delivered many speeches over the years. But one of the most meaningful moments of my public service was speaking to newly sworn American citizens — individuals who had taken their oath of citizenship just minutes before I addressed them.
I can tell you this: they were some of the proudest Americans I have ever encountered — men and women from every corner of the world, united by one oath and one dream.
For many, English was a second language. For some, this was the first country they had ever traveled to. But the pride in their eyes was unmistakable.
Watching them always brought me back to my own story.
I still remember arriving in America as a 10-year-old after spending my first decade of life in tropical Guyana — and experiencing so many things for the first time: winter in New York City without a coat, running water, electricity, trains, cars, and even an escalator, which absolutely terrified me.
I shared those experiences with them. I also shared my mother’s journey — her strength and sacrifice — which inspired me and reminded me of what so many immigrant families endure with quiet courage.
And I reminded those new Americans of something important:
Be proud of your culture.
Be proud of your food.
Be proud of your faith.
Be proud of your music.
Not only be proud of it — share it.
Share it with your American neighbors and friends, because that’s how we foster harmony and understanding.
When we share our traditions, we don’t just celebrate who we are — we educate. We break down stereotypes. We replace fear with familiarity. And we turn strangers into neighbors.
That is how we grow closer. That is how we build community.
And that brings me back to Bad Bunny.
His performance spoke powerfully to the idea of diversity — and to the universal language that connects all people: music. In many ways, it was world culture presented on one of America’s biggest stages.
It was also a master class in Puerto Rican culture — which I must remind some people is American culture.
Like so much of Latin America and the Caribbean, it also carried a deeper story: slavery and the legacy of indentured laborers, including those brought from India, who cut sugar cane and planted crops that fueled global empires.
When I saw the sugar cane fields in the performance visuals, I was reminded of where I was born — Guyana — where I spent my first ten years of life. My parents were humble sugar cane farmers.
The coconut stand selling fresh coconuts reminded me of Bourda Market in Georgetown.
And the vibrant Latin music took me right back to my childhood in the Bronx — hearing legends like El Gran Combo de Puerto Rico, Tito Puente, Eddie Palmieri, and Iris Chacón playing from apartment windows or speakers on fire escapes.
Different cultures.
Different rhythms.
Different drums from different lands.
But one shared spirit.
That’s America.
And when we embrace that truth, we don’t become weaker — we become stronger.
Because the reality is simple:
Together, we are all American.
Across Latin America and the Caribbean — regardless of language, flag, or heritage — we share lived experiences shaped by common history: agricultural roots, multi-generational homes, the neighborhood bodega or corner shop, struggle and resilience, rhythm and resistance, elders playing dominoes, and families gathering around food and music.
It’s not geography.
It’s identity.
It’s music.
In the end, Bad Bunny delivered something meaningful — not just for Puerto Ricans, but for every immigrant and every family with a story like mine.
His performance wasn’t just music and spectacle. It was a reflection of who we are, where we come from, and what we’ve overcome.
It reminded millions that being American isn’t about looking a certain way or speaking a certain language. It’s about owning your story, celebrating your roots, and contributing that richness to the shared tapestry of this country.
Boricua love, baby — you’ve got to love it.
Central Florida News
Three-Time Grammy Winner Miranda Lambert Performs for 100,000 Fans at Daytona 500
Published
4 weeks agoon
February 15, 2026By
Willie DavidDAYTONA BEACH, Fla. (FNN SPORTS) — Miranda Lambert delivered a high-energy pre-race concert Sunday ahead of the 68th running of the Daytona 500, performing for a crowd of more than 100,000 fans at Daytona International Speedway.
The three-time Grammy Award winner took the stage before the green flag, setting the tone for NASCAR’s most prestigious event with a performance that blended country hits and fan favorites.
Country Music Star Miranda Lambert Performs Live Ahead of the 2026 Daytona 500 at Daytona International Speedway. Photo by Harry Castiblanco / Florida National News
Star Power on NASCAR’s Biggest Stage
Speedway President Frank Kelleher said Lambert’s presence elevated the atmosphere surrounding the race.
“To have this level of talent with an artist such as Miranda Lambert performing our pre-race concert adds an incredible amount of energy for the 68th running of the DAYTONA 500,” Kelleher said.
The pre-race concert has become a signature part of the Daytona 500 experience, drawing major national recording artists each year.
Country Music Star Miranda Lambert Performs Live Ahead of the 2026 Daytona 500 at Daytona International Speedway. Photo by Harry Castiblanco / Florida National News
Continuing a Tradition of Big-Name Performers
Lambert joins a lineup of recent headliners who have performed at the annual event, including Pitbull in 2024, Dierks Bentley in 2023 and Florida Georgia Line in 2016.
The performances add entertainment value to a race weekend already known for its pageantry, celebrity appearances and patriotic tributes.
Country Music Star Miranda Lambert Performs Live Ahead of the 2026 Daytona 500 at Daytona International Speedway. Photo by J Willie David, III / Florida National News
A Crowd of More Than 100,000
With grandstands packed and the infield buzzing, Lambert’s concert energized fans before drivers took to the 2.5-mile superspeedway for “The Great American Race.”
The Daytona 500 remains NASCAR’s premier event, combining elite competition with large-scale entertainment — and Lambert’s performance underscored the spectacle that defines race day in Daytona Beach.
Entertainment
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Published
2 months agoon
January 8, 2026By
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