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Kristen Stewart, slowly establishing herself as the new darling of Cannes with Personal Shopper, also showing later in the week, was extremely forthright in her views of the Hollywood film industry: “There is an opportunistic element. With Hollywood as the backdrop to events of the film, the question of fame was inevitably brought into discussion.

I wrote it so I thought I’d narrate it – it was cheaper.” I didn’t go to Hollywood.” This may be somewhat disingenuous – false events do not necessitate false emotions and sensibilities – but Allen was clear to position himself within the film as its narrator, stating: “This move was originally conceived like a structure of a novel…Like a novel it should have the voice of the author. But Jesse is a fine actor who can play it with more complexity than I could.” With regard to Bobby particularly, Allen explained: “The lead character is nothing like me. The similarities between the two are often insinuated, but Allen was quick to dismiss such claims: “I would have played this part of Bobby myself 30 years ago. Eisenberg relayed that Allen had called the lawyers in. Inevitably, most of the questions were directed at Allen, though the director had a humorous exchange with Jesse Eisenberg, the film’s star, regarding a script the latter had sent as young scriptwriter that had Allen in mind for the lead role. He further noted how cinema in general is a method of “trying to understand who we are”, ultimately thanking Allen for the opportunity to work together. Storaro discussed the importance of “the relationship between light and shadow and colour” and using “the language of images”. Storaro’s work on the film is indeed beautiful, evoking the stunning cityscape of New York and the sun-bleached decadence of Hollywood, and he had many an eloquent word to say regarding his cinematographic philosophy. It can be very beautiful.” The panel also included another new collaborator in the form of legendary Italian cinematographer Vittorio Storaro. If anything, you have a few more options. For many observers, Allen’s feature represents more of the same, and at least in terms of process he was keen to stress the continuity of his filmmaking, despite several new developments introduced in his latest effort.įirstly, the director downplayed the significance of his move from film stock to digital: “The process is exactly the same.

Standing Tall was seen as an attempt to demonstrate Cannes’ seriousness and solemnity it was not particularly well received, and this year the festival has responded by providing Allen’s fun and forgettable romp through the workings of 1930s Hollywood. After the film’s première, Allen, along with several members of the cast and crew, spoke about his craft, current casting choices and the film itself in an excitable press conference within the Palais des Festivals et des Congrès.Ĭafé Society is a somewhat different opener to the film that began proceedings at last year’s Cannes. Woody Allen has returned to Cannes this year with Café Society, which opened the festival on a wet, overcast morning on 11 th May.

Cafe international society blake lively french