The ones to watch on the red carpet
AS this year’s Cannes Film Festival moved into the opening weekend it was hard to avoid the pervading sense that something akin to a phoney war was being fought. Having opened with the new offering from Wes Anderson, the inventive if lightweight Moonrise Kingdom, audiences patiently awaited the first film that would set down a marker for the big prizes and ignite serious debate.
Efforts such as Ulrich Seidl’s Paradise: Love, which examined the attempts of European women of a certain age to find romantic and sexual fulfilment in Africa, and former Grand Prix winner for A Prophet Jacques Audiard’s powerful drama Rust And Bone both had their supporters and detractors, but neither made a strong case for the ultimate prize. There were other entries that either misfired or appeared out of their depth.
