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The Hollywood Reporter has released its second Cannes Film Festival daily issue, which includes a look at the heavily-patrolled opening night, a recap of Pedro Almodovar and Will Smith’s comments on Netflix at the fest, and a chat with Todd Haynes about Wonderstruck.
Security (and Fashion Police)
Security was tight, strict and omnipresent as Cannes opened with Arnaud Desplechin’s Ismael’s Ghosts: multiple ticket checks, metal detectors and the wanding of even the longest dress trains. THR shares a thorough view of the scene, including militarized officers bearing 9-millimeter pistols, machine guns and wearing bulletproof vests, and officers turning away guests for wearing too-short socks or suits of an insufficiently dark shade.
Butting Heads About Netflix
Netflix’s inclusion in the fest’s official selection was a hot topic of debate among the competition jury. Almodovar read a prepared statement to the press about the controversy — “I personally don’t perceive the Palme d’Or [should be] given to a film that is then not seen on the big screen,” he added — while Smith offered a different take: “In my home Netflix has been nothing but an absolute benefit.”
Haynes’ new title is told through the eyes of two youngsters played by 12-year-old Oakes Fegley (Pete’s Dragon) and 14-year-old Millicent Simmonds, a deaf girl making her screen debut. Also starring Julianne Moore and Michelle Williams, the competition entry is a double-period film with little dialogue, as the two young characters are deaf. Haynes spoke with THR about making a movie for Amazon, working with child actors and foreswearing dialogue.
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