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The Hollywood Reporter’s eighth and final Cannes Film Festival daily issue includes an analysis of the shifting power players of the film market, a look at the fest’s right-leaning titles and a chat with Xavier Dolan about It’s Only the End of the World.
Fest’s Power Shift
As studio-sized indies and online-streaming giants stake their claim on the global market, there’s a sense that this year marked a power shift in the industry. STX Entertainment and Focus Features used Cannes to fully roll out their ambitious international strategies, while Amazon, which screened five films in Cannes’ official selection, and Netflix, which kept a lower profile during the fest, both scooped up titles in headline-catching deals.
Conservative Films in Cannes
Duck Dynasty patriarch Phil Robertson, on his first visit to Cannes, may be feeling a little vulnerable in France, since he sees the threat of ISIS looming. He is accompanied at all times by armed guards. He is here to sell a movie titled Torchbearer. Its poster, which shows Robertson clutching a Bible in one hand and a rifle in the other, leaves little ambiguity about its message, with a tagline that reads: “When man stops believing in God, he’ll believe in anything.”
“I Feel No Pressure From This”
Xavier Dolan is back on the Croisette for the fifth time with It’s Only the End of the World. The adaptation of a Jean-Luc Lagarce play follows a terminally ill writer who returns home to tell his family he is dying, and stars Marion Cotillard, Lea Seydoux, Gaspard Ulliel, Nathalie Baye and Vincent Cassel. Dolan spoke to THR ahead of the film’s Cannes premiere May 19 about his experience on the Cannes jury last year, why he designs his own costumes and his love of Home Alone.
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