The Cannes Film Festival, which will kick off on Tuesday, is such a colossal extravaganza that taking measure of its ups and downs is notoriously difficult. It’s a showcase of the world’s best cinema. It’s a red-carpet spectacular. It’s a French Riviera hive of dealmaking.
But by at least some metrics, Cannes — following a canceled 2020 festival, a much-diminished 2021 edition and a triumphant 2022 return — is finally all the way back.
“Let’s just say it’s gotten very hard to get restaurant reservations again,” says Christine Vachon, the veteran producer and longtime collaborator of Todd Haynes.
When the 76th Cannes Film Festival opens on Tuesday with the premiere of “Jeanne du Barry,” a historical drama by Maïwenn starring Johnny Depp, the gleaming Cote d’Azur pageant can feel confident that it has weathered the storms of the pandemic and the perceived threat of streaming.
Last year’s festival, a banner one by most judgments, produced three Oscar best-picture nominees (“Top Gun: Maverick,” “Elvis” and the Palme d’Or winner “Triangle of Sadness” ), again proving Cannes as the premiere global launching pad for films big and small.
This year’s festival is headlined by a pair of marquee premieres: Martin Scorsese’s Osage Nation 1920s epic “Killers of the Flower Moon,” with Leonardo DiCaprio and Robert De Niro, and James Mangold’s “Indiana Jones and the Dial of Destiny,” starring Harrison Ford in his final performance as the character.
But as blockbuster as Cannes can be, even those films suggest the wide spectrum of cinema on hand. Both Scorsese and Mangold were first in Cannes decades ago to premiere their early breakthrough films in the Directors Fortnight sidebar. Scorsese with 1973′s “Mean Streets,” Mangold with 1995’s “Heavy.”
This time, though, they’ll debut much bigger films, sure to be the hottest tickets on the Croisette. Scorsese has his $200 million epic for Apple TV+. And Mangold will premiere, as he says, “a more splendiferous project” than his minimalist debut.
The “Indy” celebration will include a tribute to Ford. He, along with Michael Douglas, will be given honorary Palme d’Ors. To Mangold, it’s a chance for Ford to embrace the franchise’s international following. The “Indiana Jones” films’ essence, the director says, is rooted in golden-age cinema.
“These are things where you’re taking your guidance from the classics,” Mangold says. “That’s something that’s really appreciated by the French about American cinema. In many ways, they revere the old pictures more than even the audience in the United States do. That makes it a really wonderful platform.”
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