Indiewire‘s Anne Thompson and Eric Kohn (who’s now in Paris, staying in some baroque Left Bank hotel that hangs animal portraits on the walls) discuss the 2017 Cannes Film Festival. Things start three days from now (i.e., Wednesday, 5.17). Almost every Paris-based journalist and layover will be on Tuesday’s 7:19 am train from Gare de Lyon. I’m terrified about sleeping through and missing it.

Thompson compares staying “with a bunch of guys” in Indiewire‘s Cannes crash pad to Snow White and the Seven Dwarfs. There’s a mention of Tuesday’s La Pizza gathering. They’re hot for Michael Haneke‘s Happy End and Todd Haynes‘ Wonderstruck, but who isn’t? They sound excited but, in my view, not excited enough about Andrey Zvyagintsev‘s Loveless. Thompson is hearing “good things” about Michel Hazanavicius‘ The Redoubtable, the ’60s-era Jean Luc Godard love story. They discuss the festival’s decision to turn a cold shoulder to Netflix movies starting next year. They mention the incessant partying, drinking and hobnobbing, but the only thing that matters during the Cannes Film Festival is the filing.

Things get interesting when Kohn trashes Naomi Kawase, noting that “the only time you ever hear about her” is during the festival, “which is a little peculiar.” And then Thompson, stepping out of her amiable safe zone, dismisses Taylor Sheridan‘s Wild River, which is playing under Un Certain Regard, in part because it’s “the only Weinstein film” and is “opening in August.”

Do they even mention the virtual-reality short (Carne y Arena) by Alejando G. Inarritu and Emmanuel Lubezski? Or the Leon Vitali doc about his nearly 25 years of working for Stanley Kubrick? Or the Cary Grant LSD doc? If they did I missed it.

Incidentally: As I was tapping this out, a downpour happened: