Cannes announces lineup for a festival canceled by COVID

Indian actress Aishwarya Rai Bachchan wore a gown by Saudi designer Mohammed Ashi to the 2019 Cannes Film Festival. (AFP)
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Updated 04 June 2020
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Cannes announces lineup for a festival canceled by COVID

From an empty movie theater in Paris, organizers of the Cannes Film Festival on Wednesday announced the films that would have played at there in May had it not been canceled by the pandemic.

The selections were an exercise in what-might-have-been for Cannes, the international French festival that for the last 73 years has been one the most prestigious and glitzy annual gatherings of cinema. Cannes, originally slated for mid-May, initially considered postponing to July but ultimately gave up on a 2020 edition.

Hearing what would have premiered on the Crosiette this year offered a tantalizing picture of a canceled Cannes. Two films by “12 Years a Slave” filmmaker Steve McQueen — “Mangrove” and “Lover’s Rock” — had been headed to Cannes, said festival director Thierry Fremaux, as was Wes Anderson's “The French Dispatch” and Pete Docter’s Pixar film “Soul.”

Fremaux announced 56 movies that were selected from a record 2,067 submissions that poured in despite the health crisis. “I can see that film is alive and kicking,” said Fremaux, sitting on the stage of the UGC Normandie cinema in Paris alongside Cannes’ president, Pierre Lescure.

The selection announcement, usually made in an April press conference before teeming throngs of international journalists, was instead presented during a TV interview that streamed online and aired on Canal Plus. Lescure noted the unprecedented situation had some upside: It was much quieter and Fremaux didn’t have to fend off questions from various nations whose films were overlooked.

Fremaux didn’t distinguish between which films had been slated for its main selection, in which some 20-25 films compete for the Palme d’Or, the Un Certain Regard sidebar or out-of-competition premieres. Some films, he noted, opted to wait until next year’s Cannes.

The announced selection included 16 films directed by women, an increase of two from 2019. Cannes, where only one female filmmaker (Jane Campion) has ever won the Palme, has often come under criticism for not selecting more movies directed by women.

Spike Lee, whose previous film “BlacKKKlansman” premiered at Cannes, had been set to preside of the jury that would select Cannes' top prize. Last year, it went to Bong Joon Ho’s “Parasite,” which went on to win best picture at the Academy Awards.

“This time, everyone will be able to give his or her own Palme d’Or,” Fremaux said.

Also among the selections: Francois Ozon’s “Summer of ’85”; Naomi Kawase’s “True Mothers”; Hong Sang-soo’s “Heaven”; Thomas Vinterberg’s “Another Round”; Maïwenn’s “DNA”; and Sang-ho Yeon’s “Peninsula.”

The films will be able to brand themselves as part of the official 2020 Cannes Film Festival selection. If accepted elsewhere, the films can still have their premieres at other fall festivals — should they happen — like those in Toronto, Telluride, New York and San Sebastian. The Cannes label will be particularly helpful for films from lesser-known filmmakers; 15 of the films announced Wednesday were directorial debuts.


Dwayne Johnson talks career pivot and Riyadh’s WrestleMania 43

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Dwayne Johnson talks career pivot and Riyadh’s WrestleMania 43

LOS ANGELES: No one expects an action icon to enter the awards conversation, yet that is exactly where Dwayne Johnson finds himself today, and it is not by accident but a deliberate creative risk.

For years, Johnson was boxed into a brand, the unstoppable action superstar built for big moments and even bigger box office returns. Now he is challenging that identity, and the industry is paying attention.

In “The Smashing Machine,” Johnson steps into unfamiliar territory with a dramatic role backed by A24 and helmed by filmmaker Benny Safdie. It is the kind of project he describes as intimidating, not because of scale, but what it demanded emotionally.

In a recent exclusive interview, Johnson said: “The films I’ve made in the past that I’ve loved, they didn’t scare me, and there wasn’t a fear involved.

“But with this, this was different because it was not only a very dramatic role in an arthouse film from an arthouse studio in A24 with an auteur director and Benny Safdie.

“But it was also represented for me, an opportunity to do something that I never thought I could do.”

That framing explains the shift. The film marks a clear pivot, a performance that favors vulnerability over spectacle and intention over comfort. It is not a role chosen to repeat what already works but because it is difficult.

Johnson has also been increasingly direct about the balance he wants to represent on screen. Strength, he argues, does not require emotional distance. Vulnerability is not the opposite of masculinity but part of it.

“And in my opinion, it’s okay to be masculine. It’s important to be anchored in who you are. But it’s also important to know that in the same room, masculinity and vulnerability can coexist and they can breathe the same air, and it’s OK to cry.”

That message resonates because it mirrors the career moment. For an actor who built his dominance through power and certainty, choosing a role rooted in emotion reads as a real creative leap.

The response has been immediate. Awards chatter has grown louder, and, following a glowing reception at the Venice Film Festival, his Oscar potential was widely buzzed about.

At the same time, Johnson’s global profile continues to intersect with Saudi Arabia at a historic moment for international sports entertainment.

The WWE has confirmed that WrestleMania 43 will be held in Riyadh in 2027, marking the first time the company’s flagship event takes place outside North America.

As one of wrestling’s most iconic figures, Johnson has publicly welcomed the move, underscoring the scale of the event and its global significance.

“Well, I could tell you that I’m excited for the brand of WrestleMania.

“I’m excited for The Kingdom because that is a big show. And I’m also excited not only for the brand, but I’m excited for our athletes, to be able to participate in an event like that. And that is a global event.”

What makes this moment especially striking is how many worlds Johnson now occupies at once.

He is redefining himself on screen while remaining a central figure in global popular culture, from cinema to live international spectacle. Few stars operate simultaneously at this level across such different arenas.