The long-time Steven Soderbergh collaborator speaks with Indiewire about his first trip to Cannes and his latest work.
'The Immigrant' Director James Gray Tells His Cannes Critics To 'Go F*** Themselves' and Explains His Deeply Personal Connection to the Film
Indiewire talks to James Gray about what Eric Kohn labeled "the most divisive film in Cannes competition," the Marion Cotillard-starring period drama "The Immigrant" was among one of the most anticipated and ultimately debated films to play at the recently wrapped festival.
Capping off this year's Cannes competition, Roman Polanski's "Venus In Fur" brought sex, laughs, applause and a handful of enthusiastic bravos to the last weekend of the festival.
It was no surprise really that American filmmaker James Gray would be asked for his opinions on immigration policy during the Cannes press conference for his latest work "The Immigrant," simply given that title. Still, his response was a solid one that shed a great deal of light on the defining reason he went down the period route (it's set in 1921) for the first time with this film.
The Best Actress winner speaks to the press following the screening of James Gray's "The Immigrant."
With this year's edition of the Cannes Film Festival in its winding down phase (it concludes on Sunday), it's easy to forget there are still some heavy hitters left to screen in the Competition, one of which, Alexander Payne's "Nebraska," screened this morning for press before its gala later on.
Returning to Cannes following her international breakthrough performance in 2011's awards juggernaut "The Artist," directed by her husband Michel Hazanavicius, Oscar nominee Bérénice Bejo returned the Croisette this year with another film to sure to return her to the forefront of awards talk -- Asghar Farhadi's follow-up to his Oscar-winning "A Separation," "The Past."
Nicolas Winding Refn might have expressed disdain in 2011 for Lars von Trier's infamous Nazi remarks at Cannes, but the fellow Danish auteur is no less a provocateur, as evidenced by his bleak, ultra-violent Palme d'Or contender "Only God Forgives."
"She has no problem turning on the bitch switch," said Nicolas Winding Refn of Kristin Scott Thomas, the scene-stealer from his new film.
Sex, Tears and Liberace: Steven Soderbergh, Matt Damon and Michael Douglas Go 'Behind the Candelabra' at Cannes
Immediately following the screening of Steven Soderbergh's final film (reportedly), press rushed to the film's press conference where Soderbergh and co. talked about the making of the film. Here are the highlights.
The two stars talk to Indiewire about the experience of premiering 1970's-set crime love story "Ain't Them Bodies Saints" on the Croisette.
Robin Wright discusses her fruitful career and her last role playing, well, herself in Ari Folman's "The Congress."
Just over a month ago Jeremy Saulnier was in Cleveland shooting corporate videos. His latest feature film "Blue Ruin" just premiered at the Director's Fortnight. Saulnier discusses the making of the movie as well as his experience on the Croisette.
Édouard Waintrop, artistic director of the Director's Fortnight at Cannes, talks to Indiewire about how this year's lineup was barely decided in time and the criteria they use for selecting films to be shown as part of the Fortnight.
Having already come out stateside before opening Cannes less than a week later, "The Great Gatsby" garnered a healthy box office but not very enthusiastic responses from critics. Director Baz Luhrmann and the cast discuss the film's bold use of anachronistic music as well as the mixed reception.
Director Sofia Coppola discusses what inspired her to make the film , and Emma Watson discusses her career after "Harry Potter" and how watching 'The Hills' helped her prepare for role part of Nikki.
The directors and stars of the film talk about the humorous onset vibe, their love of folk music and their unique plans for the soundtrack release.
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