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France’s Love Affair With Hollywood Continues, and Vice Versa, in U.S.-Heavy Cannes Lineup
Let the Oscar predictions begin (but don't let that overshadow work made with other goals) as we get a look at Cannes' first post-'Anora' selections.
That power shift — namely, challenging the perception that premiering on the Croisette in Cannes could be a liability come Oscar season, while a bow on the Lido in Venice positioned films (like “Birdman,” “Spotlight” and “The Shape of Water”) for successful campaigns — makes this morning’s announcement of the 2025 official selection doubly intriguing. It’s a crop heavy with American talent: Wes Anderson and his ever-growing ensemble will be there with “The Phoenician Scheme,” Ari Aster brings his Western “Eddington,” Kelly Reichardt has the art heist movie “The Mastermind” and Richard Linklater pays homage to the French New Wave with “Nouvelle Vague,” about the making of Jean-Luc Godard’s “Breathless.” That seems less evident in the main competition, where new features from well-established auteurs — such as Jafar Panahi’s “It Was Just an Accident” and “Young Mothers” from the Dardenne brothers — play alongside less familiar names, including a few, I confess, to being completely unfamiliar with (like Spanish directors Carla Simon and Oliver Laxe).
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