CANNES 2025 – Journ 8: Scarlett Johassson The Great, Pedro Pascal It Austin Butler, L’IMMETY CRIKS
Every day, the hot point live from the 78th Cannes Film Festival.
The film of the day: Eleanor The Great De Scarlett Johansson
After Kristen Stewart, the Un Certain Regard section yesterday welcomed the beginnings of director of another Hollywood star, Scarlett Johansson. Who, like his comrade, chose not to appear on the screen. Her heroine, the title Eleanor, is a nonagenarian with a strong character, of which she first tells the unwavering friendship that binds her to another nonagenarian, Bessie, with whom she lives a peaceful retreat in Florida. Before her death led her to settle in her daughter in New York where she will befriend a journalism student, struggling to recover from the death of her mother. Eleanor will gradually entrust that she is survivor of the Shoah. A lie from A to Z through which she reclaims the life of her disappeared friend without measuring the consequences.
Inspired by her author Tory Kamen by the life of her own grandmother, Eleanor The Great Bases on an ambitious scenario mixing themes (friendly mourning impossible to do, a complex mother-daughter relationship, relay passage between generations, identity theft on the background of the Shoah recalling the formidable Marco, the enigma of a life currently in theaters) and therefore the registers with virtuosity. Scarlett Johansson, very comfortable in all moments of comedy, has a little tend to highlight (especially by too present music) poignant moments. But without ever pouring into the Sirupeux, helped in this by the beautiful light of the French Hélène Louvart and the large actress number of June Squibb (named to the Oscar of the 2013 supporting role for Nebraskapassed through the Cannes box), irresistible as an unworthy and revision grandmother who will gradually split the armor.
Less striking than The Chronology of Water From Kristen Stewart – Reflecting basically the gap between the two actresses in terms of incarnation as well as choosing projects -, Eleanor The Great However, reveals a more than promising director.
The video of the day: Pedro Pascal and Austin Butler for Eddington
Interviews with Hollywood stars in Cannes are always an adventure in itself, and it is surely even more true as part of video interviews: journalists are parked by dozen in rooms or on luxury hotel terraces, wisely waiting for their five regulatory minutes (and not a second more) with the “talents”. The traditional delay accumulating, so we have turned thumbs for a good hour, hanging out with the idea that we are going to finish at one point by speaking with a part of the casting of Eddington: Pedro Pascal, Austin Butler and Emma Stone.
But now we learn that our darling Emma will finally make herself the trunk with two interviews with us, recalled by her agent for we do not know what event where she is visibly awaited. Disappointment, denial, negotiation: nothing will do, the star gets out, but not without an “eye contact” and a polite smile whose author of these lines will cherish memory for a long time. All is wellespecially since the aura of Pascal and Butler was well worth the trip:
The perf of the day: Vicky Krieps in Love me Tender
In 2020, Constance Debré had published Love me Tenderwhere she told her fight to recover the guard of her son that her ex-husband had removed when she had revealed to her that she now lived love stories with women.
Revealed in 2021 by the very sensual Gold for dogsAnna Cazenave Cambet seizes this intimate story while retaining all the emotional power that twists your belly before the injustice experienced by this woman over endless years. Thanks to the strength of the text of course. His staging too. But also and above all to the way in which Vicky Krieps seizes this eminently complex character since before taking everything without revolting or overreating under penalty of even reducing his chances of regaining this famous guard.
As if she was a prisoner of moving sands and sentenced to never free it. Each scene in front of his ex (new great performance of the competition of Antoine Reinartz after Anatomy of a fall As a man feeling humiliated in his masculinity and ready to do anything to make him pay) ice the blood by the incredible interiority of his interpretation, this way of making everything feel in a constant economy of words and gestures. A huge actress.
The presence of the day: Iranian Jafar Panahi in competition
Last year, Iranian filmmaker Mohammad Rasoulof sentenced by the Mullahs regime to eight years in prison for “collusion against national security”, had decided to flee his country to come and present The seeds of the wild fig In competition in Cannes. This year, it was his friend and partner of Galère Jafar Panahi who, to everyone’s surprise, climbed the red steps.
Panahi and Rasoulof have been harassed by the authorities of their country since 2009 for having filmed demonstrations against the supposedly rigged re -election of President Mahmoud Ahmadinejad. Household assignment, prison, moral harassment, prohibition to turn … The two men live a hell. Each of their shooting – in fact clandestine – forces them to ruse but never prevented them from being vindictive. His latest feature film A simple accident is a particularly acerbic dramatic comedy towards the authorities of his country. Panahi, accustomed to empty chairs at international festivals already has a serious crispe list: a gold camera (The white balloon1995), a jury prize in the a certain look section (Sang et Or2003) and a scenario prize (Three faces in 2018).
Seeing him thus ovationed for long minutes after the official projection in the Grand Théâtre Lumière will remain one of the great moments of this edition. Panahi who is preparing to go to Australia for a retrospective of her work organized in a few months, would first like to go back to Iran after this Cannes passage. With the risk of no longer being able to get out.
Panahi is HERE and I am emotional. #Cannes2025 pic.twitter.com/xSkk9rkLpg
– Siddhant adlakha (@siddhantadlakha) May 20, 2025
The tribute of the day: Dominique Laffin in Tell him I love him by Romane Bohringer
Dominique Laffin had never had the chance to have a film selected in Cannes. But, forty years after his sudden death at only 33, the name of that which was one of the figures of French cinema in the late 1970s and the early 80s (Tell him that I love him by Miller, Nocturnal noise The Catherine Breillat, The crying woman of Doillon with a Caesar appointment of the best actress to the key, Boy Sautet…) shone today in the heart of its 2025 edition.
Thanks to her daughter, the deputy NFP Clémentine Autain, and to Romane Bohringer who seizes with mastery from the book to the eponymous title that she had devoted to her mother, disappeared when she was only 12 years old. A film like no other built like the making of of the project in question, mixing documentary and fiction. And where the relationship between Dominique Laffin and her daughter refers the director to the one she had herself lived with her mother Maggy who had left the family home when she was only 9 months old before going out very young.
An exciting dialogue through which Romane Bohringer continues the introspective vein of Blurry love But bringing it elsewhere, with a form that recalls the magnificent Little Girl Blue of Mona Achache. And this same idea of a post mortem declaration of love to missing mothers. Whatever their flaws, their shortcomings and the injuries they could have caused in spite of themselves. A great film on resilience.
The logo of the day: A24, co -producer of Highest 2 Lowest de Spike Lee
A small, well -established Cannes tradition is to applaud the logos of production and distribution companies that appear on the screen at the start of the films. Tradition a bit tiring (especially when there are about fifteen logos that follow one another) but understandable: the teams of the companies in question are in the room, a little team building cannot hurt. To change from this self-graduate purr, there is this phenomenon much rarer than applauded logos: hué logos. But that almost never happens.
Of recent memory, it only took place when the Netflix logo appeared at the beginning ofOkjain 2017 – we were then at the peak of tensions between the box of Ted Sarandos and the Thierry Frémaux festival. Yesterday morning, however, to the press screening of Highest 2 Lowest From Spike Lee, that of the Prod ‘A24 box was whistled. Uh… sorry? We are talking about the box supposed to be still the coolest on the planet yesterday? It may be confirmation that the A24 star is pale. Or when a handful of festival -goers just found it ironic to whistle rather than applaud? To tell the truth, we did not understand well …
What we understood, however, is the gag in the middle of the film, when we discover that the villain that Denzel Washington tracks down in a Bronx building in the apartment … A24. Very funny. The best valve in the film (also hilarious, but involuntarily). She would have almost deserved some applause, that one.
Today in Cannes
We make the document on Ukraine Militantropos et Girls Désir at the fortnight, Homebound from Neeraj Ghaywan to a certain look, Connemara d’Alex Lutz, Flight over a cuckoo nest In Cannes Classics, the animated film Planets at criticism and The History of Sound d’Oliver Hermanus, Pilgrimage Carla Simón et Sentimental value From Joachim Trier in competition.
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