Our latest video dispatch from Cannes includes coverage of new films by Sean Penn and Tom McCarthy.
An Assistant Editor picks a favorite review by Roger Ebert.
Arriving in Cannes by bus from the Nice airport provides a thumbnail tour of the town, from the more seedy homes on the outskirts to the swanky hotels on the waterfront. The palms lining the Croisette, the festival's de facto main drag, may be the ubiquitous symbol of city, but a few blocks away the plane trees, cypresses, and the prolific climbing roses of Provence are a more common sight. Walk a short distance from the Festival Palais and there are conspicuously un-chic restaurants where local cops congregate for dinner in the back room and retired couples hang out for a smoke and an evening beer, more often than not, with a fluffy mutt under the table.
In a way, my first reminders yesterday of everyday life in everyday France were a bracing counterpoint to this morning's press screening of Woody Allen's romantic fantasy "Midnight in Paris." The festival's opening night film is a colorful valentine to Paris, indulging and gorgeously illustrating the director's every memory and cherished illusion of the city. I've never been a big Woody Allen fan, but "Midnight in Paris" is loads of fun.
The film opens with a morning-to-night sequence of views of the city's most iconic sights: Montmartre and the Moulin Rouge, the Seine, the Arc de Triomphe and the Champs-Elysees, the narrow streets of the Left Bank, and the Eiffel Tower. That opening alone is a tourist board's dream. At the press conference later, a journalist asked Allen, who mentioned that he thought of the title long before he had a story, whether these postcard-worthy views were his own impressions of Paris, or were meant to represent the point of view of his characters. Perhaps the French questioner was hoping for the latter, but Allen replied, "I learned about Paris the way all Americans do--from the movies. I wanted to show the city emotionally, not realistically, but through my eyes.
Great Movies
