Todd Haynes: Celebs Rumors

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All news where Todd Haynes is mentioned

variety.com
‘May December’ Review: Natalie Portman and Julianne Moore Play Different Angles on a Tabloid Enigma
Peter Debruge Chief Film Critic In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her Heartland subject (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick? A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer twist on classical “woman’s pictures” provided by “Carol,” his style can be chilly and distancing. Not so “May December.” As layered and infinitely open-to-interpretation as any of his films, it’s also the most generous and direct, beginning not with Ingmar Bergman references (those come later), but with footage of monarch butterflies. They’re symbols of transformation, too, but also something nice to look at (and listen to, underscored by a lush reworking of the piano theme from “The Go-Between”) before these two women meet.
variety.com
Cannes Film Festival Reviews 2023
Zack Sharf Digital News Director The 2023 Cannes Film Festival is jam-packed with buzzy world premieres, from Martin Scorsese’s “Killers of the Flower Moon” to Wes Anderson’s “Asteroid City.” Todd Haynes is also back to unveil “May December,” featuring the A-list pairing of Natalie Portman and Julianne Moore, while Disney is bringing Harrison Ford to the Croisette for “Indiana Jones and the Dial of Destiny.” New films from Pedro Almodovar, Jessica Hautner, Jonathan Glazer, Catherine Corsini, Hirokazu Kore-eda and more are also set to make their debuts at Cannes this year. Cannes is often seen as a launching pad for Oscar season. Warner Bros. in 2022 kicked off its lengthy awards run for Baz Luhrmann’s “Elvis” on the French Riviera, with the film going on to land eight Academy Award nominations, including best picture. Palme d’Or winner “Triangle of Sadness” also picked up Oscar nods for best picture, director and original screenplay. Two international film nominees, “Close” and “EO,” launched at last year’s festival, while “Aftersun” best actor nominee Paul Mescal got his awards start in the Directors Fortnight sidebar. All of this is to say the industry will be closely watching the buzz on all of this year’s world premieres.
thewrap.com
Cannes Critic’s Take: From Martin Scorsese to Wes Anderson, This Year’s Lineup Is Faithful to Old Friends
“Elemental” and Martin Scorsese’s Apple-produced “Killers of the Flower Moon” an additional veneer of vindication. As to the box-office futures of the 20-odd films competing for this year’s Palme d’Or, certainly none will reach the international highs of James Mangold’s “Indiana Jones and the Dial of Destiny,” but then, none were ever expected to.Instead — and at its best — Cannes works as a sophisticated shell game, channeling the glamour of the red carpet and the frenzy of 40,000 accredited guests to make glitzy international events out of existential Turkish dramas like Nuri Bilge Ceylan’s “About Dry Grasses,” existential Finnish dramedies like Aki Kaurismäki’s “Fallen Leaves”or intimate two-headers about 19th-century French gastronomy like Tran Anh Hung’s “The Pot au Feu.”Other Palme d’Or contenders will come with built-in SEO, as Wes Anderson’s more-star-packed-than-usual “Asteroid City”threatens to saddle red-carpet rubberneckers with a permanent case of whiplash once the Texan auteur’s full repertory company mounts the Palais steps alongside new additions Tom Hanks and Scarlett Johansson.That all the aforementioned filmmakers could walk those Palais steps in blindfolds is another notable element of an official competition marked by staggering high fidelity.
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