Visiting critics eyes had collectively rolled the previous year, when Star Wars: Revenge of the Sith blew into town thankfully the last of the series. Indeed, theres a tendency for franchises past their artistic sell-by date to use Cannes as a springboard: it happened in 2007 with Oceans 13 and the next year with Indiana Jones and the Kingdom of the Crystal Skull. Pirates 4 continues that tradition.
Two years ago, Disney took over the Carlton Hotel to promote A Christmas Carol 3D, starring Jim Carrey and Colin Firth. The hotels imposing frontage was covered with fake snow, creating a winter wonderland in the middle of May; part of its ground floor became a wintry grotto leading to a vast press conference hall. That year, the Palme dOr went to Michael Hanekes brilliant Austrian film The White Ribbon; its entire production probably cost less than Disneys snowy extravaganza.
It would be amusing to report that the festivals high-minded French cineaste organisers take a dim view of these shenanigans. But it wouldnt be remotely true. They understand perfectly that Cannes can be both a refuge for rigorous, arthouse filmmaking and an ideal theme park for the glitz, vulgarity and showmanship of mainstream movies.
In terms of the major Cannes competition, America has had a lean time of it recently. This year, of 19 Palme dOr entries, only The Tree of Life, by the legendary US filmmaker Terrence Malick, feels purely American. Another entry, Drive, was financed and shot in the States, but its director Nicolas Winding Refn is Danish.
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2016-02-26
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