Nothing is set in stone, but Tartaglione and Wiseman said we can probably forget about eight films that have been mentioned as possible Cannes ’18 titles — Karyn Kusama‘s Destroyer, Damien Chazelle’s First Man, Jacques Audiard’s The Sisters Brothers, Yorgos Lanthimos’ The Favorite, Richard Linklater’s Where’d You Go Bernadette, Steve McQueen’s Widows, Lenny Abrahamson’s The Little Stranger and even Paolo Sorrentino’s Loro.
But Asghar Farhadi’s Everybody Knows, a Spanish-language film costarring Javier Bardem, Penelope Cruz and Ricardo Darin, could be the opening-night attraction.
Xavier Dolan’s The Death And Life Of John F Donovan is a big maybe (“It could cut very close”).
Thierry Fremaux screening Ocean’s Eight at Cannes ’18 would be…I don’t know what to call it but “sick joke” is one of the terms that comes to mind. Ditto Solo: A Star Wars Story, but maybe.
Orson Welles’ The Other Side Of The Wind, a Netflix release, will probably screen under Cannes Classics. Two other Netflix films, Jeremy Saulnier‘s Hold The Dark and David Mackenzie’s Outlaw King, would have to screen outside competition, per a recent Cannes declaration.
Thomas Vinterberg’s Kursk and Brian De Palma’s Domino could be programmed.
David Robert Mitchell‘s Under The Silver Lake is “tipped to factor this year”, they say, and Harmony Korine’s Beach Bum is said to be a dark horse.
Other likelies include Luca Guadagnino’s Suspiria, Terry Gilliam’s The Man Who Killed Don Quixote and Lars Von Trier’s The House That Jack Built. Ditto Mike Leigh’s Peterloo, Laszlo Nemes‘ Sunset and Pawel Pawlikowski‘s Cold War.
Jennifer Kent’s The Nightingale may not be ready in time.
Regarding the possibility of A Rainy Day in New York, Tartaglione and Wiseman wrote the following: “In a somewhat surprising bit of speculation, it was suggested to us that Woody Allen might make a return with A Rainy Day In New York. However, given that some actors from the film have donated their wages to various movements, it would make for an awkward red carpet.”
Wells to Tartaglione & Wiseman: Why are you so skeptical and patronizing about the possibility of A Rainy Day in New York? You said in your piece that Fremaux “has historically maintained that he chooses films based on merit,” but you deride the possibility of Rainy Day because some of the cast won’t attend the red-carpet premiere? Where is the merit in that consideration?
You’re aware, obviously, that Fremaux has been inviting Woody to show his films at Cannes for many, many years, but he’s suddenly going to cut and run because Timothee Chalamet and other cast members might not attend the premiere at the Grand Lumiere? So what? Is this festival about artistic integrity or isn’t it?