Leading French Producer Says Cannes Revoked His Accreditation After He Criticized Inclusion Of Catherine Corsini Film

Zayn Malik returned to Twitter to share a rare tweet, and it featured a message for all of his supporters.

Cody Walker is memorializing his brother Paul Walker in a touching way.

Elsa Keslassy International Correspondent “Tiger Stripes,” the debut feature of Malaysian director Amanda Nell Eu, won the Grand Prize at Cannes’ Critics Week, the Cannes sidebar dedicated to first or second films. The prize was awarded by a jury presided over by Audrey Diwan, the Venice prizewinning director of “Happening.” The French Touch Jury Award went to Belgian director Paloma Sermon-Daï’s “It’s Raining in the House,” a film about adolescence, while the Revelation prize from the Louis Roederer Foundation was handed out to Jovan Ginic, the actor of Vladimir Perisic’s “Lost Country.”  The SACD prize, meanwhile, went to “Le Ravissement” by Iris Kaltenbäck.

French film producer Juliette Favreul Renaud, a former committee member of France’s Collectif 50/50 gender equality group, was acquitted by a Paris court on Tuesday of charges of sexually assaulting an actress.

The Cannes Film Festival red carpet is usually accustomed to protests and demonstrations. Last year there were multiple.

Leading French producer Marc Missonnier, who had his Cannes Film Festival accreditation revoked after he publicly criticized its selection of Catherine Corsini’s Homecoming, has finally received a badge.

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Manori Ravindran Executive Editor of International Stuart Ford may have been named Variety’s Billion Dollar Producer, but the AGC Studios founder is already looking ahead to his next big milestone. “We’ve raised more than $1.5 billion in production financing and, the way our cinema business is evolving, who knows, in three or four years from now, I might be standing in front of you having achieved $1.05 billion at the box office,” said Ford. The executive was feted by Variety at a May 19 cocktail reception in Cannes. Many of the super-producer’s business associates and partners, as well as industry friends, dropped by the Croisette villa to toast Ford, who was given the honor by Variety’s co-editor in chief Ramin Setoodeh.

Elsa Keslassy International Correspondent Leading French producer Michael Gentile’s Paris-based outfit The Film is about to start shooting Julie Delpy’s next directorial outing, “The Barbarians,” and Laurence Arné’s “Les Hennedricks” starring Dany Boon. Delpy’s comeback to French filmmaking since “Lolo,” “The Barbarians” is a satirical comedy unfolding in a small town in Brittany which is preparing to welcome Ukrainian refugees after voting unanimously to greet them in exchange for subsidies from the government. But instead of seeing Ukrainians come into town, they see Syrian refugees, causing some tensions among locals and testing their liberal beliefs. Delpy will star in the film opposite Sandrine Kiberlain (“Mademoiselle Chambon”), Laurent Lafitte (“Elle”) and Ziad Bakri (“The Weekend Away”), India Hair (“Angry Annie”), Mathieu Demy (“The Bureau”) and Delpy’s father Albert Delpy.

Welcome, Insiders. Cannes is now well under way while the picket lines remain busy in LA. Jesse Whittock here in London. I’ve rounded up all the big and important news from film and TV, so sit back and enjoy the read. Subscribe here.

The Mother,” has only been out for a week and has scored Netflix’s biggest opening weekend for a film of 2023 with 83.71 million hours viewed since its premiere. But the story of a Mother, played by Lopez, determined to protect the child she gave up for adoption at any cost, was a tough sell for Netflix. When director Niki Caro was presented with the script, she asked the film’s producer, Elaine Goldsmith-Thomas, if the streaming giant would be open to it.

The European Producers Club (EPC) has issued a statement expressing solidarity for French producer Marc Missonnier who has had his Cannes accreditation revoked for criticizing the festival on social media.

If you thought Maïwenn’s Johnny Depp movie Jeanne du Barry arrived at Cannes with a lot of baggage, Catherine Corsini’s Homecoming didn’t spare in its ruffling of French media feathers with stories about harassment of workers on the pic’s set and a masturbation scene involving minors.

Guy Lodge Film Critic The story template of “Homecoming” is a standard one: Years after an unexplained trauma, a family returns to the place they once called home, where hidden truths come to light and bitter conflicts arise over the course of one seemingly idyllic summer. Yet for all the secrets and lies that shape the narrative of Catherine Corsini’s straightforwardly told but consistently intriguing new film, its most interesting tensions often emerge from things its characters already know, even if they haven’t acknowledged them out loud. For Black single parent Khédidja (Aïssatou Diallo Sagna), arriving at the Corsican birthplace of her children after 15 years away, disinterring a buried past throws her maternal insecurities into sharp relief; for her teenage daughters Jessica (Suzy Bemba) and Farah (Esther Gohourou), what revelations the trip yields only underline their respective senses of not-belonging in their own small family.

Cannes Film Festival in as many days, Catherine Corsini’s “Homecoming” is vastly more interesting than that other film maudit, “Jeanne du Barry,” though the pair make for worthy foils.While Maïwenn’s stuffy historical epic drew protests on the Croisette due to the extracurricular activities of its stars, Corsini’s windswept jaunt very nearly didn’t make the trip – the title was omitted from the competition when news of irresponsible on-set practices broke just before the selection was announced. That the lack of oversight involved a minor seemed to seal the project’s fate before a subsequent investigation and the absence of any formal complaints put the title back on track.

There is the good sister, with A grades, university prospects and a sense of decorum in company. And then there is the younger sister who can’t see a volume button without turning up the music, who is quick to complain or pick an argument, who spots someone else’s drug stash and thinks she could steal it and maybe make some pocket money selling deals on the beach, because what – what – could possibly go wrong with that plan?

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Zack Sharf Digital News Director The 2023 Cannes Film Festival is jam-packed with buzzy world premieres, from Martin Scorsese’s “Killers of the Flower Moon” to Wes Anderson’s “Asteroid City.” Todd Haynes is also back to unveil “May December,” featuring the A-list pairing of Natalie Portman and Julianne Moore, while Disney is bringing Harrison Ford to the Croisette for “Indiana Jones and the Dial of Destiny.” New films from Pedro Almodovar, Jessica Hautner, Jonathan Glazer, Catherine Corsini, Hirokazu Kore-eda and more are also set to make their debuts at Cannes this year. Cannes is often seen as a launching pad for Oscar season. Warner Bros. in 2022 kicked off its lengthy awards run for Baz Luhrmann’s “Elvis” on the French Riviera, with the film going on to land eight Academy Award nominations, including best picture. Palme d’Or winner “Triangle of Sadness” also picked up Oscar nods for best picture, director and original screenplay. Two international film nominees, “Close” and “EO,” launched at last year’s festival, while “Aftersun” best actor nominee Paul Mescal got his awards start in the Directors Fortnight sidebar. All of this is to say the industry will be closely watching the buzz on all of this year’s world premieres.

Basking in the applause. Johnny Depp was taken aback after receiving a standing ovation during the 2023 Cannes Film Festival.

Elsa Keslassy International Correspondent Catherine Corsini, an outspoken queer activist and co-founder of France’s feminist organization 50:50, should have been celebrating her new film’s inclusion in the competition lineup of the Cannes Film Festival. Instead, she found herself in the middle of a firestorm after “Homecoming,” her coming-of-age story, failed to get the proper government approvals for a scene of a sexual nature involving two minors.   Corsini admits that mistakes were made. But she says that she took every effort to protect her young actors from being exploited.   That scene, which was eventually cut from the movie, became the object of wild rumors, which Corsini said are false, “crazy, completely out of control.” “I’m hallucinating at things I’m reading, accusing me of having forced Esther to do a blowjob or masturbate herself,” she said.