Tall ready to Cannes for the most famous film festival in the world. On the poster is a stunning black and white image of Catherine Deneuvethe godmother is her daughter Clare Mastroiannithe opening film – Jeanne du Barry – has as a star Johnny Depp (5 minutes ago in a dive and 5 minutes later stuffed with millions at Dior). Then there are the announced protests and the administration’s bans on protesting, the threat of a blackout to teach squandering a lesson, various and possible (including the meteorological certainty of a lot of water that puts the looks in danger of humidity).
It is therefore understandable how awaiting a post-Palme d’Or budget, between controversies and films as beautiful as they are ugly, let’s look immediately at the past. To previous red carpets to dream on, to the long history (76 years) of photos to browse. In other words, reassurance. But not just that of the red carpets either of the infamous photocalls with all the cast lined up (with the points of view always the same). No, true nostalgia starts with the one that is no longer done at the Cannes Film Festival, or perhaps is done but is covered up: the side promotion to the grand evening première (once the least interesting part of a movie launch).
It is in this interview portraiture, from fake shots stolen on the beach, around, in hotel gardens, in the room, that nestle the best photos. And the more you go back the more these shots become exceptional. One is amazed by the fragments that, thank God, someone has taken the trouble to immortalize, with the parsimony that gave the film and its costs. Other than a burst of flash and a good photo there will be.
Cannes Film Festival: the cast of Pulp FictionSophie Marceau and Pierre Cosso
For example, if you are looking for photos from the premiere of Pulp Fiction – year 1994) there are the same photos that a parent would take at their child’s play in the same year. Next to them, however, here are those cast in the hotel. With Quentin Tarantino on the sofa together with some of the actors, some with sunglasses and Barefoot Uma in a white suit. Well, things like that are gone. Except the niche of some very good ones still photographers like Greg Williamstoday the whole dream is in the hands of the stylists, who often fail.
Fashion houses help cinema, true, they finance restorations and produce films where capital is lacking. They pay very well for their endorsements, but you don’t get cool with a contract to wear a certain brand. It happens, but only to a few (Cate Blanchett?).
Dress yourself, one would say to the stars, you will certainly do better. Learn from Susan Sarandon topless in Cannes 1978, sitting on the balustrade of a balcony: black jacket, white trousers, perhaps gymnastics, New Balance and argyle socks (like Totò Cascio at the premiere of New Paradise Cinema).
Also gone are the mistakes and embarrassments of young actors, dressed as they would for an outing with friends. Where are the Sophie Marceau and Pierre Cosso of these years, playing in any fountain in Cannes without any awareness of followers and social engagement. They are completely dead, and luckily someone portrayed them then.
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