Salivary RT-PCR tests have been carried on at a 300 square-meter lab tent adjacent to the Palais des Festivals. He said that out of several thousand people getting testing here on a daily basis, there are an average of three cases per day. She won the Palme d’Or for her performance in Abdellatif Kechiche’s 2013 film “Blue is the Warmest Color,” which she shared with Kechiche and her co-star Adèle Exarchopoulos.Ĭannes Film Festival’s general secretary Francois Desrousseaux told Variety yesterday that there was no COVID-19 cluster at Cannes four days into the festival. Seydoux’s other films in competition are Ildiko Enyedi’s “The Story of My Wife,” and Bruno Dumont’s “France.” She also stars in Arnaud Desplechin’s film “Deception.” The critically acclaimed actor has been talked about as a strong contender for a best actress award at Cannes due to the number of films she has playing at the festival. She will remain in quarantine until her doctors deem her safe to travel to Cannes and attend festival events. I enjoyed myself during stretches, was getting frustrated during other stretches, and I hope Anderson focuses more on the big picture of his next picture.A spokesperson for Seydoux confirmed she tested positive for COVID-19 despite being fully vaccinated and asymptomatic. If you're new to the idiosyncratic world of indie film's most precise curator, then I'd advise starting with a more digestible and earlier Anderson entry. If you're already a fan, by all means, step into The French Dispatch. Each of them has the requisite charm and random asides we've come to expect from Anderson, including a leotard-wearing strongman that is called upon by the police to help during the hostage crisis, but it felt more like a collection of overlong short films than a cohesive whole.
The third segment follows Jeffrey Wright recounting an assignment where he investigated a master police chef (not "chief") and gets in the middle of a wacky hostage negotiation. The second segment follows Frances McDormand as she investigates a Parisian student union revolting against the ignorant powers that be. The first and best segment follows Tilda Swinton discussing a heralded but imprisoned experimental artist (Benicio del Toro) who is dealing with the pressure to produce.
LEA SEYDOUX FRENCH DISPATCH MOVIE
This is not the most accessible Anderson movie for a newbie it's very bourgeois in the kinds of people it follows, the stories it pursues, and the intellectual and political conflicts it demonstrates. It's occasionally so arch and droll that it feels too removed from actual comedy. Perhaps that is Anderson's wry, subtle point considering the entire journalistic voice of the movie feels like somebody made a movie in the style of one of those esoteric, supposedly "funny" New Yorker cartoons. I was amused throughout but each felt like a short film that had been pushed beyond its breaking point. This narrative decision limits the emotional involvement and I found myself growing restless with each of the three segments.
The French Dispatch is structured like you're watching the issue of a news magazine come to visual life, meaning that the two-hour movie is comprised of mainly three lengthy vignettes and a couple of short asides. Wes Anderson's latest quirk-fest is his usual cavalcade of straight-laced absurdity, exquisite dollhouse-level production design, famous faces popping in for droll deadpans, and the overall air of not fully getting it.
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