In just two months the South of France will lay host to not only the biggest film festival in France, but perhaps the most important film festival in the world. Cannes is the most glamorous and important stop for global arthouse filmmakers, featuring a level of programming rarely matched by its counterparts from Berlin, Venice, Locarno and Toronto.
Last year, films like Beanpole, Portrait of a Lady on Fire, Pain and Glory, Once Upon A Time In… Hollywood and Atlantics dominated 2019’s arthouse cinema conversation, with the Palme D’or winner, Parasite, riding that momentum all the way to an unlikely Best Picture win at the Oscars, showing that Cannes’ stature is as strong as ever.
Whether the Cannes festival in 2020 is cancelled as a result of the coronavirus outbreak remains to be seen of course, especially since the French government has moved to ban gatherings of over 1,000 people. But for now the organisers have argued that it is business as usual. In this optimistic spirit, we thought we’d have some guesses as to which films could play in the main competition. Ranging from America’s quirkiest auteur to the man who started Cinéma du look to Hollywood’s most distinctive mainstream director, here are ten films you might expect to see coming out of the Croisette.
Benedetta by Paul Verhoeven
Paul Verhoeven is no stranger to shock. Sordid yet sexy films such as Robocop, Showgirls and Basic Instinct put the Dutch filmmaker on Hollywood’s map, going much further than any his contemporaries. With Elle, released a few years ago, he made a smooth transition into the world of arthouse, creating something still depraved while assuredly handled. With Benedetta, telling the story of two nuns in 17th Italy who enjoy a steamy love affair, he is likely to enjoy a warm Cannes reception once again.
The French Dispatch by Wes Anderson
Passing over the Berlinale, despite his long-standing relationship with the German festival, Wes Anderson’s francophile tale The French Dispatch, telling the story of American reporters putting out a magazine in a remote town in France, is a complete shoo-in for the competition. It would be a huge surprise if he didn’t premiere his whimsical tale here ahead of the film’s July 24 release date.
Annette by Leos Carax
Making his English language debut, Leos Carax’s latest stars none other than Adam Driver and Marion Cotillard as husband and wife. A musical film, it will tell the story of how their glamorous lifestyle is turned upside down by the introduction of their uniquely talented daughter Annette. With his last film being the well-acclaimed Holy Motors, Annette has the potential to be a major event.
Tre Piani by Nanni Moretti
Nanni Moretti is no stranger to Cannes. The Son’s Room won the Palme D’or in 2001 while the director himself was president of the jury in 2012. It’s likely that Tre Piani (three floors), telling the story of three families living in three flats in the same condominium, will be eligible to play in Competition this year.
Further DAU Films by Ilya Khrzhanovskiy
After much speculation that nothing would ever come out of it, the world of DAU is here to stay. Both DAU. Natasha and DAU.Generation played at Berlin to critical acclaim, with Ilya Khrzhanovskiy stating that there are perhaps over ten films from his mysterious project left in total. Can we expect a couple more at Cannes?
While DAU. Natasha played in competition in Berlin, DAU. Degeneration played as part of the Berlinale Special. One could imagine a similar split in Cannes between the competition and Un Certain Regard.
Jean-Luc Godard Yellow Vest Drama
I have a theory that Godard could make something goddamn awful and he’d still be allowed to play in Cannes. The Image Book was pretty much near unwatchable, but it was heavily lauded when it played in Cannes in 2018, making the likelihood that if Godard finishes his latest film in time, it will be allowed to premiere at the festival. He’s currently working on a “conventional” tale about a yellow vest protestor in France leaving her boyfriend. If its done, then you’ll probably see it in Cannes.
Ammonite by Francis Lee
With God’s Own Country, Francis Lee established himself as one of the world’s major LGBT filmmakers. With Ammonite, a lesbian 19th century beach-set tale with shades of Portrait of A Girl on Fire, he seems to have a winner on his hands; especially considering the two leads will be played by Kate Winslet and Saoirse Ronan.
Last Night In Soho by Edgar Wright
Cannes is not averse to a quirky comic director every now and then. Last year’s opener was the zombie comedy The Dead Don’t Die by Jim Jarmusch. Perhaps this year will see the premier of Edgar Wright’s Last Night in Soho, a psychological horror film inspired by Roman Polanski and Nicolas Roeg starring Thomasin McKenzie and Anya Taylor-Joy. A thematic departure for the esteemed British director, it could open his work up to even bigger audiences.
Tenet by Christopher Nolan
Could Nolan impress in France? One of the rare blockbuster directors to seemingly have carte blanche to realise his own visions, his unique style has impressed even French film critics. In 2018, his 70mm restoration of 2001: A Space Odyssey at the festival, accompanied by a 2-hour masterclass, was a success. His latest film, the time-travelling spy thriller Tenet, could be a special mainstream pick for the festival. After all, you can’t really go wrong with a top-tier Nolan film.
Dune by Denis Villeneuve
If Tenet is perhaps too obvious for the French, then the new Dune adaptation by Denis Villeneuve, starring Timotheé Chalet, Rebecca Ferguson, Oscar Isaac and Josh Brolin, would be a fine second choice. Attempting to go where David Lynch failed, Villeneuve seems like a great fit for the book adaptation, although time will tell if he can finally create a version that is actually watchable. If so, a Cannes premiere is a great way for the film to build up a head of steam before its December release.
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