2022 Cannes Film Festival: Winners Announced Live

Patrick Frater Asia Bureau ChiefAction-drama film, “Emergency Declaration” pulled together several of Korea’s top stars – Song Kang-ho (“Parasite”), Lee Byung Hun (“G.I. Joe”) and Jeon Do-yeon (“The Housemaid,” “Secret Sunshine”) – and it first took to the air as a Midnight Screening at the Cannes Film Festival, back in July 2021.Directed by Han Jae-rim, the story involves a veteran police detective who receives a tip-off about an unspecified terrorist threat against a plane. Puzzlingly, he discovers that the chief suspect has got on the flight too.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was a familiar winner striking gold again. For the second time in five years, director Ruben Östlund won the coveted Palme d’Or for his English-language debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square” and beat out eighteen other films to win this year’s top prize.

The 75th Cannes Film Festival is coming to a close on Saturday afternoon, and after much speculation as to what would take home the top prize, it was familair winner striking gold again. For his second time in five year, director Ruben Östlund won the coveted Palme d’Or for his English-laungage debut film, “Triangle of Sadness.” Östlund first won the prize back in 2017 for “The Square,” and beat out eighteen other films to win this years top prize.

s’il vous plaît!Over at the French film festival on the Cote d’Azur, which wraps up this weekend, it’s long been popular to give comical and undeserved standing ovations to just about anything that could be feasibly called a film. Next year the Claudes and Claudettes will be hopping to their feet for a dancing toad on TikTok (more deserving, honestly, than Lars von Trier.)The trade publications time these performative participation prizes like they’re Olympic runners.

Michelle Williams is glowing in Cannes! On Friday, the 41-year-old actress stepped out to attend the premiere of her latest film, , at the 2022 Cannes Film Festival, and proudly displayed her baby bump on the red carpet.Williams, who's currently in the midst of her third pregnancy, stunned in an all Chanel look, wearing a white and midnight blue lace long dress with embroidered top from the fashion house's Haute Couture Spring-Summer 2022 collection.Two hundred and seventy hours were spent embroidering 15,000 elements, including a floral motif embroidery composed of strass, glass beads and sequins, on the gown.She paired the dress with white shoes, along with a white gold and diamond ring and coordinating necklace, all which were designed by Chanel.Williams' Cannes appearance came the same month that she confirmed she and her husband, Tony-winning director Thomas Kail, are expecting their second child together.The couple also shares a son, Hart, whom they welcomed in 2020, the same year they tied the knot. Williams is also mom to Matilda, 16, the daughter she shares with the late Heath Ledger.«It’s totally joyous,» Williams told  of her third pregnancy.

Filmmakers seeking to denounce the crushing effects of capitalism often seem to rely on the excuse that if their films aren’t subtle, it’s because capitalism itself isn’t either. But such systems of exploitation probably wouldn’t still be around if, on top of having (very visible, obvious, violent) power on their side, the powers that be didn’t perniciously plant their hooks into the minds and hearts of their victims, making them do most of the work for them.

This year’s dark horse in competition at Cannes is easily “Leila’s Brothers,” Iranian writer-director Saeed Roustaee’s third feature and worthy follow-up to his intense 2019 cop thriller “Just 6.5.” With hints of “The Godfather” and Arthur Miller evident throughout, the drama is a sprawling tale exploring dysfunctional family dynamics, economic hardships, and generational wealth. READ MORE: Cannes Film Festival 2022 Preview: 25 Must-See Films To Watch “Leila’s Brothers” follows the lives of a Tehran family as they struggle to stay afloat amidst financial hardships and complicated familial relationships.

In the late 19th century, two French psychiatrists coined the term “folie à deux,” literally translated as madness for two, to describe what is now widely referred to as shared psychotic disorder, or when two — or more — people transmit delusional beliefs and occasional hallucinations to one another. The condition is most common in people closely related, who live in intimate proximity, and has been lengthily dissected by academics.

As countries go, Iceland is probably one of the most fast-changing in terms of its biological make up, its intense volcanic activities reshaping its surface and contours at a speed fast enough to be perceived within a single generation. Paradoxically, it is also a place where time appears to stand still, with the sun omnipresent for half the year and absent for the rest.

Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.

Observed in isolation, detached from the body or in extreme close-ups, organs and other vital viscera resemble moist masses of soft tissue plucked from alien landscapes in the unflinchingly immersive medical documentary “De Humani Corporis Fabrica.” Alternating between footage from cameras inserted into patients for the purpose of treating ailments and grisly shots from the operating room, directors Verena Paravel and Lucien Castaing-Taylor, the team behind the striking non-fiction film on fishing “Leviathan,” apply their fascination for uncanny imagery with relativist intent to the inner workings of French hospitals and, in turn, the human body.

“Tori and Lokita” opens on a tight close-up on the teenage Lokita (Joely Mbundu) as she struggles with the questions delivered by an immigration officer. She has fabricated a story about how she found her brother, Tori (Pablo Schils) in an orphanage, but no one believes her.

Deadline’s studio at the 2022 Cannes Film Festival kicked off at the American Pavilion by hosting fest-goers such as Joel Edgerton of The Stranger, Jesse Eisenberg and Julianne Moore of When You Finish Saving The World, and many more. Click on the photo above to launch the gallery.

A documentary with no guardrails, “The Natural History of Destruction” (“NHD”) lurches through its 105-minute runtime with no concern for its audience’s bearings or balance. Commendable in its own way, eschewing as it does the omnipresent talking head and clip art formula so pervasive on the documentary scene, it is also devoid of context and narrative challenges.

A balloon shaped like a heart flies from the open window of a taxi. It is late at night and the woman (Leila Hatami) who this gift was bestowed upon simply couldn’t care less about the useless trinket, far more interested in comparing the quality of the accompanying chocolate boxes dispensed by a handful of men who wish to have her as a Valentine.

It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.

It’s the plight of the plightless: a kid from a comfortable, upper-middle-class background wants to be some manner of artist, except that he’s (and it does seem to be a he more often than not) bereft of the experience, grit, or outsider credibility that define the role models he hopes he could one-day call influences. He ventures out into the big bad world in search of something to put a bit of hair on his creative chest, only to face the spiny question of whether this effort to get real is just class tourism, a jaunt in the gutter that one phone call to Dad could prevent.