Anora (Movie)

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      Which Cannes Films Might Become Oscar Contenders?

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      Films backed by the studio Neon have won Cannes and gone on to Oscar nominations regularly in the last few years. That’s one reason to keep an eye on “Anora.”Last year’s Cannes Film Festival was practically a one-stop shop for Oscar voters, premiering three major films — “Anatomy of a Fall,” “The Zone of Interest” and “Killers of the Flower Moon” — that would go on to be nominated for best picture.Does this year’s crop of Cannes movies have the same juice?At the 77th edition of the festival, which concluded Saturday, Sean Baker’s “Anora” was named the winner of the prestigious Palme d’Or. Three of the last four Palme winners went on to receive a best-picture nomination — “Anatomy of a Fall,” “Triangle of Sadness” and “Parasite” — and all of them, like “Anora,” were distributed by the studio Neon. That’s an astonishing streak that positions “Anora” in the best way possible, lending a veneer of prestige to Baker’s raucous comedy about a Brooklyn stripper who marries into Russian wealth.In 2018, Baker’s “The Florida Project” came awfully close to a best-picture nomination. If voters are more amenable to his indie sensibility this time around, expect robust campaigns for the lead Mikey Madison and for Baker’s script and direction. More of a long shot but equally worthy is supporting actor Mark Eydelshteyn as the live-wire heir our title character weds: Though Oscar voters rarely reward young men, this kid’s a total find, like a Russian Timothée Chalamet.Zoe Saldaña shared the best actress award at Cannes with three other female co-stars of “Emilia Pérez,” which is so much more than a musical.VixensIn a surprise move, the Cannes jury split the best actress award four ways, honoring the main female cast of the talked-about musical “Emilia Pérez.” That means the ensemble member Selena Gomez now has a Cannes trophy that has eluded the likes of Marion Cotillard, though I suspect more fruitful Oscar campaigns would be waged on behalf of the leading lady Zoe Saldaña, who’s never had a more robust role, and especially Karla Sofía Gascón, who could become the first trans actress to be nominated for an Oscar. (The fourth winner was Adriana Paz.)Netflix has picked up “Emilia Pérez” and will certainly give it a significant awards push, though the streamer’s stewardship could have drawbacks. It’s true that this is a hard-to-classify film — equal parts crime drama, trans empowerment narrative and full-blown movie musical — which would have made it a difficult theatrical sell. But some of its more outrageous moments are certain to be memed and mocked as soon as it makes its streaming debut, which could hobble the film’s reputation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Cannes Love Affair With American Cinema Takes Unexpected Turns

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      Whether it’s Demi Moore’s performance in “The Substance” or Sean Baker’s tale of a Brooklyn sex worker, this year’s jury will have a lot to ponder.One truism of the Cannes Film Festival is that no matter how alarming the news about the American movie world, Hollywood — however you understand that word — retains a powerful grip on this event. Cannes is a thoroughly French affair, but its love for le cinéma américain is evident everywhere from the faded images of Hollywood stars that are scattered about to the honorary awards that the event bestows. On Saturday, it will present an honorary Palme d’Or to George Lucas, the 11th American to get an award that it’s given out just 22 times.Given the United States’ long domination of the international film market, it’s no surprise that the country looms large here. The Disney adventure “Kingdom of the Planet of the Apes,” it is worth pointing out, was No. 1 at the box office in France and in much of the rest of the world when Cannes opened last week; it still is. That said, the hold that American cinema maintains on this festival goes beyond market share. Americans have also won more top awards at Cannes than filmmakers from Britain, Italy or France. This fact that reminds me of the moment in “Kings of the Road,” the 1976 Wim Wenders road movie, when a character says, “The Yanks have colonized our subconscious.”There are always movies from around the world here, of course, but the selections that often generate the loudest chatter are either from the United States or are Hollywood-adjacent. Three such titles this year are a heat-seeking troika that involve American notables who, after a period of relative domestic quiet, have showily returned to the international stage. Kevin Costner is here with “Horizon: An American Saga,” a baggy western that’s the first chapter in a multipart series, and Francis Ford Coppola has a new epic, “Megalopolis.” Then there’s Demi Moore, who’s being hailed for her bold starring role in “The Substance,” an English-language horror movie from the French director Coralie Fargeat.Demi Moore as an actress of “a certain age” in “The Substance.” Universal PicturesA gross-out fantasy that suggests Fargeat has watched her share of David Cronenberg movies, “The Substance” centers on a beautiful actress, Elisabeth Sparkle (Moore), who is what’s often irritatingly called a certain age. When her TV show is canceled, the actress does what you might predict given the movie’s exaggerated look and tone: She despairs at what she sees in the mirror and reaches for an outrageous solution. This turns out to be the mysterious treatment of the title, which allows her to effectively generate (birth) a younger version of herself. This Demi 2.0, as it were, is played by Margaret Qualley, who, like Moore, bares her all in a 140-minute movie that’s as simple-minded as it is bloated.I am (personally!) sympathetic to the points about women, beauty and age that Fargeat seems to be trying to make. Yet the movie never gets beyond the obvious, and the whole thing soon becomes grindingly repetitive despite its two vigorous lead performances, all the many eye-catching shots of Qualley pumping her butt like a piston and the chunky tsunamis of gore. Far more successful on both feminist and filmmaking terms is “Anora,” Sean Baker’s giddily ribald picaresque about a Brooklyn sex worker, Ani (Mikey Madison), who, more or less impulsively, weds the absurdly juvenile son of a Russian oligarch.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More