Cannes Diary: The world’s glitziest film festival through the eyes of an industry insider

The Cannes festival wraps up on May 25. (AFP/File)
Updated 25 May 2019

Cannes Diary: The world’s glitziest film festival through the eyes of an industry insider

  • The director says Cannes is more than just a movie festival
  • Attendees wear color-coded badges, which specify their title and occupation

Film director Hadi Ghandour takes us behind the scenes at the Cannes Film Festival with his revealing diary entries.

Day 1

I am on a train from Paris to Cannes. A middle-aged woman maneuvers her way around my legs and sits beside me. She is on her phone, making sure to loudly telegraph to the entire train that she is attending the festival. “I hope Xavier Dolan doesn’t disappoint me like last time! And can you believe that Alain Delon is being honored? What a travesty!” We are all supposed to be impressed. My festival experience begins before I get there and I am forced to endure her pontification for the next five hours.

The train arrives on an overcast afternoon. The first thing I do is pick up my badge. Without it you are considered a third-class citizen. I inch past the security blocks that barricade the Croisette like a fortress and make my way to the Grand Palais.

What makes this place so distinctive and often daunting is the sheer amount of stuff going on. It is not only a film festival, but a massive market, an annual industry meet-up, a sprawling seminar, a paparazzi hunting ground, an awards ceremony, and an everlasting party.

Cafes, restaurants and hotel lobbies turn into networking hubs and industry meeting grounds. TV screens that usually broadcast football matches or music videos air live feeds of press conferences and red carpets. Beachfront apartments are transformed into movie company offices, with their logos hanging from the balconies and the harbor morphs into international pavilions for global cinema.

I often find that the most interesting films play at the Director’s Fortnight. It is late in the evening. My friend has snatched up a couple of priority invitations to Robert Eggers’ latest picture “The Lighthouse.”

Envious eyes watch us zip through the interminable line that wraps around the JW Marriott.

I sink into my chair but, within moments, a sense of dread washes over me when I hear the shrill voice from earlier today. It’s the woman from the train. The festival may be larger than life, but it is still a very small place.

“The Lighthouse” is hypnotic, terrifying and has remarkable performances from Robert Pattinson and Willem Dafoe. It is guaranteed to give me nightmares later.




Willem Dafoe stars in The Lighthouse. (AFP)

Day 2

I am having a breakfast meeting by the shore. A seagull swoops in and boldly pilfers a piece of bread from the basket. Even the seagulls here are fierce and determined.

 A 50-something gentleman interrupts our conversation and humbly introduces himself as a filmmaker from Saskatchewan who has been in the business for years.

He slides over a heap of DVDs - films he has written, directed, produced, edited, shot, acted in and composed. He points at one of them, which is enveloped in a half-ripped cover. “This one here is my masterpiece,” he tells me.

Everyone has something to pitch. The whole town is like a never-ending speed date. Shifty eyes dart around mid-conversation. First, they land on your color-coded badge to decipher your title and worth, then swiftly onto the next person.

Ideas float around with the heft of low-hanging clouds over people’s heads. You can almost see them. The movies in competition may be front and center, but the energy is already directed at the future.

I swing by the Marche Du Film, the festival’s film market. Located in the Palais basement, it is a maze of industry booths where deals are negotiated and struck. It is not only the least glamorous part of the festival, but the least glamorous place you could ever visit.

The market begins to suffocate me so I decide to watch a movie, “Lilian” by Andreas Horvath. Waiting in line at this festival is a rite. You must always add an hour and a half to a movie’s running time to gauge your overall time investment.

The sun is setting and the sea is iridescent. A nighttime chill begins to emerge. One of my favorite things to do at the festival is to watch a film on the beach. There is something wonderfully primal and peaceful about it. A bunch of strangers gathered on a sandy shore beneath the moonlight, watching and listening to a story unfold.  A documentary is playing, “Haut Les Filles” by Francois Armanet. Everyone has sunk into their chairs and are wrapped up in blankets to protect them from the gusts of wind. They look so peaceful and vulnerable, a poignant end to the vicissitudes of their day.




A woman checks her phone in the Marche Du Film. (AFP)

Day 3

It is 7:30 a.m. and I make my way to a film screening — “Frankie” by Ira Sachs. On my way there I spot a group of people, one of them is in a wrinkled tuxedo that has lost its respectability. Last night hasn't yet ended for them. 

The film dips me in and out of a light and pleasant sleep, but I somehow suspect this could be its intended effect.

I walk out of the Grand Theatre Lumiere. The glare assaults my eyes and brings me back to the real world, which suddenly looks more mundane.

I begin to exit the Grand Palais when I am approached by a festival attendant. She randomly offers me a seat at the press conference for “Young Ahmed,” the latest movie by the Dardennes brothers. Perhaps she liked my countenance, but most likely she needed to fill a few empty seats. 

Things are in overdrive today. It’s the Tarantino film premier and everyone seems to be seeking access to the screening. I overhear a woman pleading for that golden ticket. “My son is diabetic!” she says. What in the world does that have to do with getting a movie ticket?

After lunch, I glance at my watch and realize I’m about to miss my train. I run to the station and just barely make it. 

Three days in Cannes feel like a week. It is a cycle that ebbs and flows between the mad rush of the movie business and the peace and refuge of movie watching. It can be overwhelming and exhausting. But it’s all about the movies, so who can really complain?




Quentin Tarantino premiered ‘Once Upon a Time... in Hollywood’ in Cannes. (AFP)

 


Sunsilk’s Color Run returns to Riyadh

‘The Happiest 5k on the Planet’ is set to turn Riyadh colorful on Oct. 26. (Photos/Supplied)
Updated 19 min 17 sec ago

Sunsilk’s Color Run returns to Riyadh

  • The General Entertainment Authority is bringing The Color Run back to the Kingdom following the success of the Alkhobar event

RIYADH: The Color Run presented by Sunsilk is returning to Saudi Arabia! The countdown to “The Happiest 5k on the Planet” is on, with The Color Run bursting onto the streets of Riyadh on Oct. 26.
The event is part of the GEA’s efforts to attract top entertainment to Saudi Arabia. The Color Run — now the largest running series in the world — will be making its vibrant return to the Kingdom’s two biggest cities, with over 15,000 expected to participate in each location.
The Riyadh event follows the Kingdom’s extremely popular inaugural Color Run, which took place in Alkhobar in March and saw over 10,000 people run, jog, walk and skip their way along the 5 km course.
To date, The Color Run has been hosted in more than 40 countries with over 7 million runners participating in the event. It is untimed and sees thousands of participants covered from head to toe in an array of different colors throughout the course before collecting their medals at the finish line. The only rule is that those taking part must cross the finish line covered in color and have fun while doing it!
The non-competitive run is not only an opportunity to create perfect memories — and Instagram posts — but also serves as a celebration of health, happiness and individuality. The GEA, a core pillar under the Saudi government, is supporting the event as part of its continued efforts to enrich the lifestyle of residents as part of the Kingdom’s Vision 2030 reform plans and in line with the nation’s Quality of Life Program 2020.
The first of the upcoming events will be hosted as part of Riyadh Season, considered to be the biggest entertainment event in the capital city, with activities catering to sports, music, theater, fashion and much more.
Ahmed Al-Mehmadi, executive director of communications at the GEA said: “We are thrilled to be bringing The Color Run presented by Sunsilk to Riyadh. We witnessed an incredible turnout in Alkhobar and we have every confidence this event will attract even more people who want to engage in a healthy activity that combines fun and exercise. Its vibrancy matches the aims of the GEA and the Quality of Life Program 2020 objectives to support and create new options that boost participation across cultural, entertainment and sports activities.”
Kristen Biegler, spokesperson for The Color Run said: “Since its inception in 2012, The Color Run has had become a global phenomenon, and we are very excited to be returning to Saudi Arabia. The response in Alkhobar was truly amazing and we are extremely excited to bring ‘The Happiest 5k on the Planet’ to Riyadh. Our top rule is that everyone has fun — it is up to you whether you run, jog, walk or even skip your way to the finish line.”
Once the 5 km is over, the fun will continue at the Finish Festival, a larger-than-life celebration equipped with music, dance-offs, fun and games and massive color throws, which create millions of vivid color combinations!