Academy Anonymous

Oscar Season 2025-2026; "Kiss of the Spider Woman" Officially Enters the Race; Countdown to Cannes: There Will Be Paul Thomas Anderson, Wes Anderson, Richard Linklater, Jim Jarmusch, and more!

• Jules & Joseph • Season 2 • Episode 2

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On this episode of ACADEMY ANONYMOUS:

  • KISS OF THE SPIDER WOMAN reunites Bill Condon and Lionsgate Films, reaffirms Roadside Attractions as a committed Oscar flix distributor
  • JLo and Tonatiuh enter the awards conversation with lucrative distribution deal and THEATRICAL release!
  • Gywneth Paltrow turns heads in the Chalamet-verse with sex-charged MARTY SUPREME talk. One to watch for this year? 
  • Warner Bros. rethinks release slate - doubles down on Leonardo DiCaprio and Paul Thomas Anderson, railroads Maggie Gyllenhaal's THE BRIDE! 
  • Our first takes on what you should expect to pop-up on the Croisette at this summer's Cannes Film Festival - films for cinephiles and Oscar addicts staking a claim as among the year's absolute best! 
Joseph:

Hello and welcome to another episode of Academy Anonymous. I'm your host, joseph, and I'm here with Jules, and on today's episode we are going to be talking about Khan. We're anticipating the lineup reveal very soon, so we're going to start talking about some titles that we may be seeing there for the first time.

Joseph:

You know a lot of those titles announcing themselves as future competitors for Oscars, on the domestic front, on the international film front. So a lot of exciting things going on there. International film front so a lot of exciting things going on there. But before we dig in to the con portion of today's show, why don't we talk a little bit about Oscar headlines? I mean headlines related to the Oscars. What do you got for us, jules?

Jules:

Well, something that called our attention that we were happy to see was that Kiss of the Spider Woman finally got acquired after about two months after its premiere. I know there was a lot of commotion about you know how this big scale project that landed at Sundance probably was the most buzzed about film at the Sundance Film Festival, how it hadn't acquired yet a distributor and people freaking out and being frantic that that meant something bad, that that meant something bad. But you know the way these things sort of develop. It takes time to, you know, get these deals sorted out, especially if there's, you know, complications with, you know, licensing and contracts and whatnot.

Joseph:

Right, and I think at one point the speculation was that this film was made for like $65 million.

Joseph:

Which is just ridiculous, and it played at Sundance and who the hell is going to pay $65 million off for a Sundance title. You know Sundance, and who the hell is going to pay $65 million off for a Sundance title, you know. And then everything. Once the deal closed, the numbers have gone, you know, back to planet earth and what. I think that's an acquisition for. I think the mid thirties. I think the budget must have been in the mid thirties or low thirties something like that.

Jules:

So who ended up acquiring it? So it was acquired by it's going to be a co-distributed by Lionsgate and Roadside Attractions and LD Entertainment and it's sort of you know, we've seen Roadside Entertainment, which I think is I mean Roadside Attractions, which I think is sort of being the main distributor here or, you know, sort of taking the front seat here. They've collaborated often with Lionsgate for other theatrical releases. Just last year they had Small Things Like these which premiered at the Berlin Film Festival and it was very unanimously acclaimed.

Joseph:

Artist's Equity also, I believe, yeah, artist's Equity as well, matt Damon.

Jules:

Maybe that had something to do with this partnership blooming for Kiss of the Spadwoman this time around as well. That makes sense.

Jules:

But the point is that roadside attractions is an interesting studio because, first of all, their output is good they have very good quality films but, more importantly, I feel like they're adept at getting voters to see their films. If you remember, uh, the last showgirl was distributed by Roadside Attractions just last year and it got so dangerously close to getting nominated for Best Supporting Actress certainly for Jamie Lee Curtis. If she had not been nominated for Everything, everywhere All At Once, let alone win, she would have definitely been nominated for the Last Showgirl, I agree, and Pamela Anderson got hopping and skipping away from getting her first nomination at the Academy Awards.

Joseph:

And she beat out Kate Winslet and Angelina Jolie for that SAG nomination. So that was, you know, mightily close Right.

Jules:

And so Road to Attractions. I think, like I said, is good at getting voters to see their films, and they were nominated for Best Picture for Winter's Bone a while back, 2010. Right, and I think you know they were also responsible for Judy getting nominated, Ooh that's interesting.

Joseph:

I forgot about that.

Jules:

And was also nominated for Makeup, I believe and so they're good at getting their films seen by these voters. I think that if they bought this film, they see the potential for an awards campaign. Obviously, the press release revealed that that's what's planned the potential for an awards campaign. Obviously, the press release revealed that that's what's planned. I think it's an eight-figure deal for press promotion, which is no small thing. That's big and it's going to count.

Joseph:

That's big.

Jules:

So they're obviously investing a lot of energy and time and focus into this campaign, into an awards campaign. That's a really good sign, and so I think that, again, they're a very good distributor. They have very good quality films. They don't always compete for Oscars, that's certainly true, but they have a great slate of films, uh that they've distributed, and so if they bought Kiss of the Spider Woman, I think they see a lot of potential in it, and to uh collaborate with Lionsgate and give it a wide theatrical release, I think only bolsters its potential for awards consideration. So I think it was a very good get. For Kiss of the Spotted Woman, I think better than most people were starting to think, and you know I'm happy to see that.

Joseph:

I agree with you. I think some people were a little skittish. The idea that Lionsgate is going to roll this out wide to me is very exciting. You know there had been this sort of narrative that the film is very difficult to sort of present to wide audiences, because not only is it a musical, not only is it an independent musical, but it's also, you know, not necessarily the most upbeat topic You're talking about. You know LGBTQ themes and being imprisoned, and Argentina in the 80s, I believe. So I'm really excited to see how Lionsgate unrolls this. I think I believe that they announced a fall release right?

Jules:

Yes, it's going to be in the fall. We don't know exactly where yet you and I are speculating that September might be a good spot because Lionsgate has an open slot at that time possibly. But who knows, it could go, you know, know it could be later. I certainly think that if I were them, I would release it before wicked oh yeah certainly release it before wicked I mean, I I agree with that.

Joseph:

I wonder, if I think we were looking at their lineup, they do have a gap in september and they are going wide with it and I I think it makes sense for September. Do you think that it might maybe show at a couple, a couple more festivals before then? I think there's a very, you know, a baby date, right?

Jules:

I think that for well, I don't love September. You know I would love more on October release. September sometimes is that sort of dicey month where you know it's just the very start of the fall and, like you said, it's sort of slow business for the movie going.

Joseph:

Summer has ended, yeah exactly.

Jules:

And so you know, just historically, films released in September, you know, as, as at least as a recent trend, haven't, you know, been able to fully capitalize on Oscar nominations. Actually, this is very interesting. Hustlers, which again was, you know, jennifer Lopez, was so unceremoniously snubbed unfairly for that film. That film was released in September by STX.

Joseph:

And that was a big. That was a big time, I think weekend, I think 30 million plus, yeah, and it did really well that weekend.

Jules:

But the point is, you know, there's that September sort of curse, that, uh, you know, or or just the dead weight of September. You know it's really hard for films to premiere at that date and power through to the very end. Um, so I don't love September. However, just last year there was a film, a big film, that was able to buck that trend.

Jules:

That's right and that was the Substance which was able to get a Best Picture nomination and eventually become the favorite to win Best Actress Right, and that came out in September and made a buttload of money, yeah, which helped its cause to you know, sort of you know, prolong that race until March of the Oscars. So you know, I think it can work. Obviously, the Substance proved that it can work, but it's always a dicey month, you know. Well, listen, I never got a chance. But yeah, I do think pardon me, but I do think that a fall release makes it very likely for a Toronto premiere, yeah, I was talking about that too.

Jules:

But I'm hoping that it would at least premiere at Telluride as well. I know Bill Condon has been there before I think he was there for Kinsey, I believe and so possibly they'll welcome him back to the Telluride fold. Let's see. I would love this film to be not just Toronto, to have something else in its bag like Telluride.

Joseph:

It would be great to see this film at Telluride because I think Telluride, you know, does invite a lot of up and coming Latino talent and I think Tonya too would make an excellent sort of person to invite and start exposing to the audience. And Telluride I, I think it, will play Toronto. I think we're looking at maybe end of September release, early October, something like the substance and I think you quoted an excellent movie in terms of how much success you can have in terms of Oscars, in terms of box office success in September. You know I'm going to say that I haven't been very open about this, but I love, I absolutely loved small things like these. It was one of my favorite films of the year. Last year I was disappointed I didn't get more accolades, but I suppose, since we were coming off Cillian Murphy and Oppenheimer, that's why a bigger deal wasn't made of that film just in every aspect, but certainly his performance, and I think that the combination of Lionsgate, roadside attractions and artist equity did such a fantastic job with the promotions, with the artwork. I was so happy with it. I thought it was very creatively inclined and I think that they should really, you know, have a very creative sort of marketing and P&R for this movie. I think it welcomes it. I think you know you have your whole movie within a movie, so I think you can have so much fun with it. You can get a lot of people excited about it, and I think that you know, like I said, and I think that you know, like I said, I think it's really bold to go wide and I think it may pay off. And I said this in our Sundance episode you guys can go back and check that out an episode or two ago.

Joseph:

To me, after seeing this movie in Sundance, you know, I always thought it was locked and loaded. It was just waiting for a distributor, for someone, to step up. I think they got good studios to step up. I think, you know, had this gone to Searchlight or it could have even gone to Paramount, it would have been, you know, just as competitive. I think this is a good, a really good pickup, not just for the Jennifer Lopez bid, but for the Tonya 2 bid, the Diego Luna bid, the crafts. Like I said, even really good box office makes this movie a best picture contender In my opinion. I'm not sure that I see a year that is, you know, enormously strong like 2023. I think there's more than enough room to welcome this, this type of musical and this respected, you know property. Again, this was nominated for best picture in 1985.

Joseph:

Um, the other thing I'll say is that it's, in my eyes, it's so massively important to campaign this movie as a complete movie. I I think any campaign that tries to focus in their efforts on just one particular aspect, whether it's one craft category, one performance, just the writing, just the directing, it's bound to fail. I think you have to make a movie that's widely appealing to all voters. That's why I think it's equally as important to campaign Diego Luna and Jennifer Lopez as it is Tonya Tu, who's the lesser known but certainly possibly the most acclaimed from the film, or one of the most acclaimed from the film. You have to sort of campaign the art director and the costume designer.

Joseph:

And then the other thing I'll say is I think there's some kind of serendipity at work, because I think it was Lionsgate that picked up Gods and Monsters out of Sundance in 1998. And so when I heard that news, that was immediately what I thought of, and so I think I later read that Bill Connan was saying it's sort of a homecoming for him. Certainly the Sundance premiere, but the idea of working with Lionsgate again and I think that you know the film, which is a very delicate project but I think has a tremendous amount of potential is in good hands.

Jules:

Right, I really like that. What you said about the serendipity you know of the whole thing, I think that's really cool. I'm glad that it got picked up and I think it did a pretty good job at getting acquired and having a good sort of position now in the awards conversation. So, um, I'm glad to see that Gwyneth Paltrow made headlines with her remark. You know that during the production of Marty Supreme, which will be out later this year by the SAFT, by, uh, benny Safdie, that, uh, she did not want to have a intimacy coordinator in the project or at least she sort of pushed the idea a bit or, you know, was just not very thrilled with the whole thing.

Jules:

The whole experience and supposedly there's a lot of sex scenes in Marty Supreme.

Joseph:

Isn't that what she said? She said there was a lot of sex scenes in Marty Supreme.

Jules:

Yeah, between her and Timothee Chalamet, and so she, I think, was discussing how it felt uncomfortable and awkward to have an intimacy coordinator. And it's interesting because we're in a place in this industry at this moment where, you know, I think this is sort of a fragile topic because some people are going to feel that it's absolutely necessary to have that sort of safety imbued in the project, to have something like an intimacy coordinator just to make sure that everything is operating the way that it needs to be operated. And then there are the people who feel like it's unnecessary.

Joseph:

Yeah, you're seeing some resistance to it now. I mean, I remember Mikey, yeah, mikey.

Jules:

Madison. Yeah, that was something that popped up in her campaign and that some people were critical about, and so it's kind of interesting to think about how that's going to, how voters are going to perceive that. Are they going to care, are they going to feel that it's a little, you know, and I don't want to say inappropriate or insensitive, but certainly maybe not in the direction that they feel the industry should be going in, right? Or they're going to sort of applaud that someone is airing out feelings that they themselves feel just haven't aired out as well, right, intimacy coordinators, and so you know, I thought that was kind of interesting. What did you think?

Joseph:

Well, I think it's interesting as well. I mean, I think it's going to be different to have this coming from someone like Gwyneth Paltrow, who's an established figure in the industry, although she hasn't acted in what seems like forever by choice, I suppose versus Mikey Madison right, who's an up and coming actor, a young actress ended up winning the Oscar, but is also sort of playing a sex worker in the film Right right, right, and so it'll be interesting to see how that whole narrative plays out.

Joseph:

And if she's turning heads right now just with that headline, I can only imagine what's going to happen when the movie comes out and the sex scenes are sort of viewed and commented on and an opinion is formed on them, and so I think this is something that we can keep tracking until what late later in the year when we expect this one to come out. Yeah, exactly.

Jules:

Right, and then another. Another story that made the headlines and that caught our attention was that there was a big shakeup in Warner Brothers this is big yeah in their film slate for the rest of the year and the beginning of next year. And so there was a handful of films that got reorganized, and probably the two biggest ones that called our attention and called most people's attention is that they moved up the paul thomas anderson film, or rather moved down, yeah, paul thomas anderson film from early august to late september and that in effect, in effect kind of booted out the late september slot that maggie jillian halls, the bride, had and that film the bride got and ended up being pushed back to next year, 2026,.

Joseph:

March.

Jules:

I guess the first thing that comes to my mind is that in sort of delaying the release for a PTA film, they're probably trying to position it more comfortably in the sort of awards, kind of space calendar Right. Kind of space calendar Right. Um uh, again, late September, you know, feels just more prime for Oscar fodder than early August.

Joseph:

Dog Days of Summer. Really, it was kind of like a Dog Days of Summer release back in August Exactly.

Jules:

And um and. But, like we mentioned, september is not always great either. Um, but I know that the press release was saying that. You know, part of the delay was because they want to present some prints in VistaVision and they need some time to get those prints ready and to get projectors for the 70 millimeter.

Joseph:

So that's how I want to present the Brutalist in VistaVision. I know that it's very interesting. I want to see how many prints they cut of that Right and so that was very interesting.

Jules:

Interesting I want to see how many prints they cut of that Right and so that was very interesting. And what really called my attention is booting Maggie Gyllenhaal's film till next year. That was heartbreaking when I learned that, and so for me that reached to me that if they felt they had a bona fide you know, awards contender in the Bride, I don't think they would have done that, and then let alone push it back to spring. You know. I think that that shows that whatever they think the Bride is, it's not an awards player.

Joseph:

I think that goes to show to, you know, really visionary filmmakers like, I think, maggie Gyllenhaal presented herself to be the Lost Daughter. You know, do not take the money, do not take the money. Do not take the money, do not work for warner brothers. You know, most of the time warner brothers movies have to fight warner brothers in order to come out. So I think maggie jenna hall is still in the fortunate place that they haven't canceled the film altogether yet, even though they're, you know, developing that reputation. But I was very disappointed On the upside. We're not going to get two sort of versions of Frankenstein, so there won't be any sort of internal competition there with the Academy because Guillermo del Toro's Frankenstein from Netflix is coming out.

Joseph:

I thought it was tremendously ironic that Netflix's Frankenstein spin is going to come out and Warner Brothers hired Maggie Gyllenhaal, who sort of made her name as a director with Netflix, to make the Bride of Frankenstein version of that and then that got booted out.

Jules:

Do we think that that might have played a part sort of like I don't know? There's intel that that you know Guillermo's, you know Frankenstein is, you know, up to snuff and the Bride, I guess in their eyes, just you know, doesn't doesn't compare very, the bride, I guess in their eyes, just you know, doesn't doesn't compare very well. And so they said well, I mean, if we can't compete with Frankenstein, let's just move it to next year.

Joseph:

I think there may be a case for that, but I think there's a stronger case for they don't know what the hell they're doing, right? You know canceling movies here and there and you know coming out with Mad Max and basically killing it before it comes out to theaters. So Joker 2. So I want to say that any film inside the Warner Brothers house is in trouble, it doesn't matter whether you shift your date. I think that this takes Maggie out of the conversation for this year and is in a very tough spot to even compete next year if they keep that March release date. I will say that for my money.

Joseph:

I don't think we've heard the end of this conversation. I have a lot of red flags with all these projects. I'm gonna, you know, put my cards on the table now and say that I think this isn't the last Warner Brothers shakeup. We'll see. I think a project like Weathering Heights from Emeril Fanel, or even the Tom Cruise Alejandro Iñárritu project may end up showing up this year, because I think Warner Brothers wants a bona fide hit that can cross over with the Oscars, and I think right now they're in tremendous trouble trying to produce that.

Jules:

Well, you know, on that note, I think we can transition quite well from these headline topics into what will be the majority of our episode, which will be looking at the possible titles that will be premiering at the Cannes Film Festival very soon and sort of hopefully, by the end of our sort of exploration of films that could possibly contend give our predictions for what actually will, we think will be premiering there.

Joseph:

Yeah.

Jules:

The Cannes Film Festival is going to be in May, I believe May 13th. Yeah, I think it runs for 10 or 11 days. The jury is headed by the always exceptional, iconic Julia Binoche, one of the greatest actors of our time.

Joseph:

And a great, a great spectator also yes, great cinephile.

Jules:

Absolutely, and I can't wait to see who's going to be joining her on the jury. But what's interesting is that the titles will actually be revealed on April 10th, so we're going to be devoting a couple of episodes to predicting who we think is going to be in that lineup, right?

Joseph:

um, well, I can't wait to hear the other members of the jury. Yeah, but let's uh start digging into that lineup what we're seeing. Let's maybe present to the audience some spoilers, and I think there's no better place to start than one battle after another. Paul Thomas.

Jules:

Anderson.

Joseph:

The Paul Thomas Anderson film. Not only did we get the Warner Brothers shuffle a few days ago, but we also got some footage right.

Jules:

Right.

Joseph:

We got some footage, interesting stuff. Maybe we'll comment on it in a little bit, but here's what we know. We know that the film there's been rumblings online it. Here's what we know. We know that the film there's been rumblings online. It's been screening.

Joseph:

It's been screening, we know the film was close to three hours. I think two hours 50. It's now down to two hours and a half. We know this is going to be a big Paul Thomas Anderson film. The budget 100 plus 100 million, plus possibly the biggest I believe by a wide margin budget that PTA has been given.

Joseph:

Warner Brothers also releasing this, and IMAX quote unquote printing, vistavision prints, which I think is wonderful, and I wouldn't put it past someone like Paul Thomas Anderson who really loves the film experience, the cellular experience, the projection of film, that idea that he wants to present it on film in as many places as possible. Here's what we know. We also know that the release is set for September 26th with that shakeup. But I'm going to pose the idea that, despite reputable outlets like Variety, sort of quoting that the film will certainly not play at Cannes con. I want to maybe throw a little bit of skepticism. Skepticism about that. Right, um, here's my pitch. My pitch is that paul thomas anderson I don't know that he loves going in competition to festivals, right um, you know he's, he's done a few of them. There will be blood went to fantastic fest, inherent vice went to new york, the master went to venice. But if warner brothers is sort of pitching this september release as a you know, as the film possibly screening somewhere between telluride toronto and venice, which occurred during those september release dates again early september, very late august, in terms of Telluride Toronto, going from early September to mid-September, I think the release is a little bit late for that and I'm not sure how excited someone like Paul Thomas Anderson would be to show his film there in competition.

Joseph:

Here's the other thing. I think that Warner Brothers really needs this film that's coming out on IMAX screens to make some money. They really need this film to make some money. I've even heard rumblings online about how the film has to cross $300 million to come up with a profit, and I think there's some faith being put there on Paul Thomas Anderson, but certainly on the lead, leonardo DiCaprio, and my idea is that if a film comes out in Venice and it gets glowing reviews, the very fact that it's a Paul Thomas Anderson film, a visionary filmmaker, he's not going to pander to the audience.

Joseph:

It's not necessarily ever going to be an easy sell for people to go and buy a ticket two weeks later. I think it's incredibly risky. So to me, with that date, what I see is maybe you do a screening at Telluride and try to get some of that excitement, sort of like how Jason Ryman did for Saturday Night, but that didn't really translate very well. The other thing I could possibly see is New York, because New York starts on the 25th of September, and so maybe Paul's going to do a very special this division screening there.

Joseph:

That would be great. I think that would be wonderful.

Jules:

But again there's not Sort of like.

Joseph:

Inherent Vice, sort of like Inherent Vice, I just maybe the opening night film right, which is something that David Fincher did for Gone Girl the year that Inherent Vice premiered there. So it's not, you know, off the table, but I don't know that. That gives you a lot of time to build up that buzz. So my idea is that the best possible place for warner brothers to premiere this film would have to be the con film festival and they have to try to copy or mimic as best as possible the sort of playbook that once upon a time in ho had. Now I don't think this is the kind of film. Again, from what I know about it, it may be more mainstream, it's inspired by Vineland, so I'm not sure this is the kind of film that's going to draw the audience of Once Upon a Time in Hollywood. But if you premiere it at Cannes, I think you're getting a chance to sort of repeat that strategy. And so a big, splashy Warner Brothers premiere at Cannes for this type of film I think is possible. I think it would probably go out of competition. So, despite all indications saying no, it's not going to happen, I want to go ahead and put this back in play as to why it could happen and why I'm not completely discounting it.

Joseph:

The other thing I'll say is that leonardo dicaprio, who's going to be one of the most bankable things about this film? Right um, he has a really good reputation with with con right killers of the flower moon once upon a time in hollywood. Right um, he doesn't really do too many of the fall festival circuits. Very rare for you to see him somewhere between Venice, telluride and Toronto. He likes to maybe focus on a nice big summer release. Maybe what he thinks is the king of all the festivals. So I'm kind of thinking that the Great Gatsby was another one that premiered there. So I'm kind of thinking right now that they're either going to premiere this in Cannes or forego any type of festival.

Jules:

So New York.

Joseph:

And possibly, if they do premiere it in Cannes and it does go well, don't be surprised if maybe they push that date a little bit, september 26 to maybe back to August, late August. I guess it depends on how other films do. The only thing that I would be maybe a little bit hesitant about is, I don't doubt that Paul wants to show it in VistaVision. So if they are trying to print at least one copy of that right to show at a festival, I'm pretty sure that Paul would want to show it off. That. I'm sure Khan can manage. But will it be printed in time? Will it be ready in time? Right, right, but I'm certainly not taking out the table. I want to put it back on the table and say that variety is wrong. Right, but we got footage. What did you think of the footage? Not necessarily a teaser yet, but we got some images. What are you thinking?

Jules:

Oh well, you know, just, personally, like many, you know, pta is my favorite filmmaker, and so, in a way, you know, pta can do no wrong. I think it looks, you know, amazing. I can't wait, and I think it's kind of odd, though, to have, you know, a kind of, you know, pre-trailer before the trailer. You know, I wish you would just, you know, just show us the trailer or the teaser whatever it is.

Joseph:

Right.

Jules:

But I think it looks great. And you know, I purposely try not to read too much about it because I just want to have a very sort of singular experience with a PTA film. Yeah, you know, I think he's, you know, the greatest living filmmaker alive. And you know I think he's, you know, the greatest living filmmaker alive. And you know, I think many people feel that way. Um and so, yeah, I can't wait. So I was very happy to see that. What about you?

Joseph:

I agree, I think it's always going to be a tough sell. I don't think it's going to make its money back because I don't think audiences are educated enough to sort of buy the ticket for this, Um, but I will say that from what I saw in terms of Oscar prospects, you know it's always going to be a tough sell a Paul Thomas Anderson film, because he doesn't, like I said, pander to the audience and he sort of lives in his own wavelength, which is wonderful, and he's also not interested in how many awards or Oscars his project's got.

Jules:

Yeah, he doesn't care, which is why his films are great, right, exactly.

Joseph:

But I will say I really like the way Tiana Taylor looks in it.

Jules:

And will say I I really like the way tiana taylor looks in it and I think that he she looks like she has a very good part. I actually found yeah, I agree with you I think that the actress who plays the daughter, chase infinity, I think she's going to have a very big, prominent part.

Joseph:

You know, she stood out to me a lot yeah, I agree, and so it kind of brings up the idea. There's been a lot of rumblings that you know this film is finally going to give regina hall the position in the oscar race that she has long deserved. Amazing actor, an extraordinary actress. But the footage I'm seeing, sort of you know, pushed me a little bit more towards tiana taylor and jason finnett, yeah, and that said, you know this is a huge cast. Yeah, um, there's been a lot of good word for sean penn's turn in this, even though sean penn not always the easiest person to vote for. God bless him, he's the best, the best. Um, but it sort of brings up this idea right where, in terms of awards prospects, there's going to be so much infighting in this movie and internal competition, because everyone gets a good part right almost everyone gets a stand-up part and we'll get some moment to shine yeah

Joseph:

and so you. It wouldn't surprise me if there's just the. The love for the performances is just too spread out that you come up with, you know, no nominations. But from the footage I was seeing, you know, dicaprio of course always going to be a favorite and he got snubbed for killers, so he's definitely back on the table in terms of best actor, right, right. But chase infinity, t, but Chase Infinity, tiana Taylor look like they have excellent parts, yes, and looks like they're going to do a wonderful job there, right. So then, after that which I want to throw back on the table, let's go to some favorites. And so Variety has sort of, I suppose, officially or unofficially confirmed that we're going to see Jim Jarmusch in the festival again, which is great.

Joseph:

We haven't seen him since 2019's the Dead Don't Die.

Jules:

And he's presenting. Yeah, it's been a while.

Joseph:

He's presenting Father, Mother, Brother, Sister, which could be a bit of a tongue twister.

Jules:

I think it's Father Mother Sister Brother. Excuse me, father Mother Sister Brother. Yeah, exactly, father Mother, sister Father. Yeah, this is going to be a thing with me all season long, okay.

Joseph:

Jim Jarmusch, one of my favorite filmmakers. He has a great cast here. He's got the always notable Cate Blanchett Adam Driver Reunion there from their work on Patterson which premiered at Cannes. Wonderful film between the two of them. You got Tom Waits in this, you got Charlotte Rampling, miami Alec just a very great cast. Vicky Creeps a.

Jules:

Paul Thomas Anderson, veteran.

Joseph:

Yeah Right, so it looks like a great cast. The film is being described sort of as a triptych, in the sense that it has these three sort of parallel stories going on. We don't know how related or not they are. Some of the details are scarce. We know that it's taking place in multiple locations. I think the mother story is occurring in dublin, the father story in north eastern united states and the sister brother section where they share one chapter I think is occurring in paris. It's tough to tell who's gonna stand out. Um, I remember him commenting on this sort of saying. The film is is very funny but also kind of very quiet. Um, there's always a certain sense of melancholy and and a Jarmusch film. I think his films have only gone as far as winning the Grand Jury Prize, I believe, for Broken Flowers Won one of the big three, I believe so he has yet to win a big one.

Jules:

I think it won. Didn't it win the big one at Cannes? Broken Flowers, I think, won the Palme.

Joseph:

No, I don't think that it won the Palm Dior. I actually think that he has yet won the Palm Dior, despite being there Maybe the Grand Prix.

Joseph:

So often, maybe the Grand Prix, maybe I'm confusing it with the jury prize, but he hasn't won the Palm Dior yet. This is an early one that they confirmed. It makes me think that it's been widely screened enough in the industry and that it was submitted and it's a no-brainer that it's going to be accepted by Thierry. Interesting thing here is you have his editor, alfonso Goncalves, which I believe he worked with on Only Lovers Left Alive, beautifully edited, and then he has two DPs on this Frederick Elms, who's wonderful, that everyone should know, from Blue Velvet, right, and he's worked with Jim Jarmusch a lot. He shot Patterson, being a new jersey native himself, I believe, um, but also has yorick yorick, uh, so right, so he's done some very prominent work. So, um, two cinematographers, two cinematographers. I don't know why that is.

Joseph:

we do have multiple locations and I hope it's not any other type of personal complication. They're wonderful, wonderful artists. Yeah, um, we also know this is coming from mooby. We know mooby has bought the rights to this already. So I mean, uh, could this figure into the race? You know there could be a standout part here for a supporting player. I'm not sure this is going to be the vehicle to bring back someone like adam driver or k blanchett, even though adam driver and him have worked so beautifully in the past.

Jules:

Um, what's interesting? What's interesting is that you know, as we mentioned privately, that you know jim jarmusch film has never really made an impact in. You know the award circuit. You know, you haven't seen his films at the academy awards ever. Right, or? Or the golden globes, yeah, I believe um, or the any of the guild awards, really. So you know, you know it. It's sort of Jim Jarmusch, like PTA is sort of on his really singular own specific beautiful wavelength.

Joseph:

Yeah.

Jules:

You know where sort of awards are, just, you know, just not that important.

Joseph:

Right, this would need to be sort of such a critical standout for the Academy to even embrace this Again you stand out for the academy to even embrace this again. You talk about that amazing bill murray performance from broken flowers. Didn't get nine for anything, just a tremendous cast too, by the way, yeah, but uh, it didn't get nine for anything and they could have nominated bill that year because they snubbed him for the win in 03 right right.

Joseph:

So I think it's tough to ever get a a jim jarmusch film nominated for anything but movie. Mubi is getting stronger. You know Charlotte Rampling just got nominated a little while ago. Could she possibly be a winner at some point? I don't know who's playing who, so maybe she plays mother. Tom Waits, I hope, plays father.

Jules:

I think Francois Lebrun. I wonder if she's going to play mother. I remember her from Vortex, which we saw a couple years ago which is an amazing film by Gaspar Noé, the French vet. Yeah, and I don't know. I feel like she, to me, sticks out as someone who could play mother.

Joseph:

We could have multiple mothers in this movie. I have no idea, but it's great to see him collaborating with these actors. I'm sure it's going to be a wonderful film. This is a film that I'm I'm sure is going to play new york and play right telly ride, so it'll be exciting to see what happens here. Um, another title that has been all but confirmed, I believe, is wes anderson's latest, right the furnition scheme. Right, right, um, and that's coming from focus features, and it has a release date, I believe, of may 30th, june 6th, wide in theaters, and so this is the perfect place to premiere it.

Joseph:

You know Wes Anderson, a staple here, brought his last film, asteroid City, which was my favorite film of 2023. So we don't know very much about it. We do know that there's this sort of espionage element, and I heard rumblings that it's in the 1950s. Could be very interesting. You know who's in this is benicio del toro, right, uh, who has yet to be nominated in the lead actor role. I believe he's the lead here, but it has a great cast, right, um, including tom hanks, scott johansson, michael cera right, right, um, I've been hearing that this might be a breakout moment for a young actress. I believe I'm saying her name right Mia Thrableton, I believe, who was actually Kate Winslet's daughter. I heard she has a very good part in this.

Jules:

I'm really excited to see that. I'm really excited to see. Well, first of all, wes Anderson again one of my absolute favorite filmmakers years as well, right, and so I can't wait for this. Absolutely favorite filmmakers years as well, right, and so I can't wait for this. But I'm very curious, and I already know that so many of these actors work beautifully with him. Scott Hunter Hanson was so beautiful in Asteroid City. Yeah, bill Murray, you know actors that he works often with. I can't wait to see Charlotte Gainsbourg in this movie Cumberbatch, been in Cumberbatch. But you know Mia Threepolton, I can't wait to see her debut. It's her first film, isn't it?

Joseph:

I don't know if it's her first film, but I think it's her first big role. I can't wait to see that you got some new people here Charlotte Gainsbourg is in this one, riz Ahmed and some people who worked with him on those shorts, hope Davis, bill Murray is always there, bryan Cranston, again co-written by roman coppola. They work so well together and you know what I thought was interesting about this? And here's the thing when you have a wes anderson film, you kind of work with?

Jules:

I'm sorry, has he ever worked with richard ayodi?

Joseph:

richard ayode. I don't know if he has he. Maybe he did on one of those shorts. I don't think he's worked on him, with him on a film, so that'd be cool to see also.

Jules:

That might be very interesting, right, because they have a very similar sensibility, right?

Joseph:

Yeah, that could be a very interesting combination. Scarlett Johansson is going to have one hell of a year this year and this, I think, will be one of her first stops at Cannes. She's going to have more films coming out. Maybe she can present a film or two in Cannes. She can present a film or two in Cannes. I don't know, I'm not pegging it right now, but it could happen. Something really interesting going on here Again, when you have a Wes Anderson film competing for Oscars, they almost always deserve but don't get nearly enough recognition in the categories of costume design, in the categories of production design. Very interesting thing he's working with a very prominent makeup artist, again, prosthetic designer, I believe Mark Coulier is his name and they worked together on the Grand Budapest Hotel so he's

Joseph:

back on this one. So we're going to see some very cool makeup work. So watch out for that. And here's what I thought was super, super exciting, which is Wes Anderson Again, always a treat to watch for below the line, and it should compete in more categories whenever he comes out with a film. But we know him for his collaboration with Robert Yeoman, right, and this time he's going to be collaborating with Bruno Delbonel, right, and I think the only thing that comes to my mind is remember the last time that Bruno Delbonel sort of stepped in to photograph a film from a prominent, uh, singular, filmmakers and sort of brought his own spin and it ended up being one of their most beautiful looking films yeah, and that's when he brought alongside the coen brothers inside lewin davis to con 2013.

Joseph:

Right, the coen brothers, of course, known for their collaborations with, uh, roger deacons, right, right, but it ended up being such a gorgeous looking film and so I cannot wait to see what bruno delano and wes anderson cook up together I'm sure it's going to be beautiful yeah um, now the problem is that wes hasn't really turned out to be always a great bet, I think, for focus features, but I I hope this one turns out to be another contender, because, god knows, he deserves so many more nominations than what he has so far.

Jules:

Yes, you know, flowers upon flowers. But I will say that Benicio del Toro did work on the French Dispatch, so you know, this is sort of his second collaboration, I believe, with Wes Anderson, and actually he was my favorite part, I think of the French. Dispatch, so I can't wait to see him. If he is the lead here, that's very exciting.

Joseph:

Yeah, and I believe his name is Zaza Korda. So I cannot wait for this film. Watch out for Benicio Del Toro. Side note Benicio Del Toro also has a supporting part in one battle after another. Could that be a little bit of a giveaway here? Battle after another. Could that be a little bit of a giveaway here? We don't know, possibly. Um, the next title hasn't been confirmed, but I've had this pegged for con ever since I heard about the project and I think it's going to be a major film at con and I cannot wait to hear how it goes. And that's richard link ladder's latest nouvelle vague. Right translates to New Wave and it's a film about the French New Wave filmmakers. It sounds very exciting. I think he's been excited about it for a while. I think that this is all but guaranteed a spot.

Joseph:

It should be competition. Here's what I know. I know it's again a big cast and his film is going to be sort of behind the scenes of the making of breathless jean-luc godard is going to be a character, gene seberg is going to be a character, but then you have all these influential people from the new wave, the french new wave, you know. Are going to be characters francois truffaut, for example, and a lot of the members of the cast I think are relatively unknown yeah, I think most are.

Joseph:

Yeah, most of them are known French actors. I think maybe the most prominent is the actress who is playing Juliette Greco, right, and she's the most prominent French actress. And then, of course, Zoe. Zoe Dodge. Zoe Dodge, who they work together on.

Jules:

Everybody Wants Some.

Joseph:

Everybody Wants Some, and so a little bit of a reunion for them. And she's playing Seberg, which Stewart, kristen Stewart played not too long ago to some acclaim, and so the other thing I know is that it's shot in black and white, you know, and that you know in a very new wave sort of way.

Jules:

Not every day you see a Richard Linklater film in black and white, exactly.

Joseph:

I don't know the DP right now I can't put my finger on it. I'll look for it. But I do know that the film is going in without any distributors, so the distribution will be up for grabs. Here's the thing is that this film can go one of two ways. It can either be a huge gem of the festival that's going to win the hearts of the French cinephile community, who can be very resistant to sort of the kitsch of representing them on screen.

Joseph:

I remember Misha Hazavinichus had a Jean-Luc Godard film I think play here. It did not go well. I don't think that Jean-Luc Godard would smile upon any sort of representation of his on screen. But I do think that Richard Linklater is just such a lover of cinema, such a cinephile, such a cineast, that I think that he's going to be able to walk that really narrow line between homage um of reverence and also maybe use it as a jumping off point to what he thinks cinema in the future could be right, right, um, you know, we talk about sort of the idea of jason reitman's saturday night, sort of recreating history for that moment and playing like gangbusters at telluride. But it had problems right, finding legs with the overall movie going community and certainly Oscar voters. Unfortunately, I don't think that Richard Linklater will have the same issue. What do you think?

Jules:

I agree with you. I think that this film to me I don't know what the trades are predicting or not, as opposed to, I mean, regarding a premiere, but this would seem like a no brainer to me as well. Um, and you know, I think, richard Linklater, a great filmmaker who certainly, you know, operates on a more nuanced register, but you know, his filmmaking to me has always been very, you know, direct but wise, and you know, full of depth, yeah.

Jules:

Full of depth, and so I agree with you. I think that was really well said what you said. I think his films have a tendency to sort of, you know, be very rooted in, uh, the present as well as looking forward. So in tackling this, you know, um nostalgic sort of movement, uh, I'm interested to see how he's going to apply his, his sensibility, his vision um and his uh signature.

Joseph:

Right, um, and it seems like a lot of his below the line talent doesn't really have any sort of history with Oscars, because he's sort of taking the anti-Jacques RDR route, if I may say, in the sense that there's a lot of French talent here French DP, french editor and so he worked as closely as he could with French talent to make the film. Again, I think it speaks to his reverence for the place that French cinema has in history and certainly in his heart. So I think that this is going to be a big deal, and this can either go one of two ways. This is either going to be a movie that is going to be tremendously tarnished and ripped to pieces by French critics and French audiences, or I think it may just be the de facto winner of one of the three big prizes because he's just so big hearted and he's just such an expert filmmaker. Yeah, um, who's gonna grab it? I don't know, because this, you know, it's stacking up in terms of your slate. I don't think neon has any room. I think a24 is running out of room.

Joseph:

Um, I would hate, hate, hate to see this go to netflix, because that basically disqualifies it of almost competing in any category. Right? Um, I just don't think, as we saw last year, that Netflix will ever make a movie that's compelling enough to win win up against the argument that it's not movie. Going to sit at home and watch a movie on Netflix, that it is not the practice of watching a movie, um. So I don't think it's in the cards for them and I think that them sort of taking on this title is it's going to. Maybe the title can muster a few nominations, but it's going to be tough. I would love to see Richard work with IFC again. Uh, richard brought IFC there for Boyhood. Ifc, a tremendous, tremendous distributor of quality cinema. I'd love to see that collaboration. Of course, some people are going to be skittish about the black and white right. No known actors, essentially, right. This is a film for cinephiles, right?

Jules:

So you got to really watch out for netflix, though, because you know he has a relationship with them but they did so bad by him right for hitman, right, but to hear that, you know, I think neon was saying the other day in an interview representatives of neon that they really wanted hitman and they lost it out to netflix. Um, and you know, just you know, don't discount Netflix. Being someone who could really buy a Richard Linklater film, especially one that they see, you know, awards potential for.

Joseph:

I, you're right, I completely agree, but I think Richard Linklater is going to want this one in theaters. He's going to want this homage in theaters. I think, like I said, this could be one of the biggest titles to premiere there and that someone might scoop this up really fast, right? Um, I wonder how julia binoche is gonna feel about this movie. It could be very interesting. Um, anyway, let's move on into the next title and speak of the devil.

Joseph:

It is actually going to be neon's title sentimental value by joaquin treer. Of course, joaquin had a runaway hit with worst person in the world, which neon also acquired and campaigned in the year 2021. It did not win the palm dior, um, although he's competed for multiple times, on multiple occasions, for the prize, he has yet to win the big prize, um, but the worst person in the world was a huge crossover hit with academy members. It probably got super close. Yes to best picture, to best actress, and so there's a lot of anticipation for this next film and I'm wondering if it's going to be able to meet the moment.

Joseph:

Um, this is going to be not just a neon presentation, a film that neon has already acquired the rights to, but I believe BBC Films is also going to be involved here in this production. I think Compleason, which is the wonderful company, a production company associated with Marenade, is on here as well, and we have a reunion between Joaquin and Renate Reins. Right, and she's taking the lead role here again. Right, and everyone remembers she was a huge critic, darling for worst person in the world, so she's a lead here again.

Joseph:

Lo and behold, I believe she's playing an actress in this film which could be, you know, oscar fodder in and of itself, um most recently she was kind of playing an actress, I think in Armand which premiered on a sidebar at Cannes.

Joseph:

So I think you know this will be an opportunity for her to get back in the conversation, I think. As far as I know again, details are few right now, but she's an actress, she has a sister. They're sort of mourning her mother and the father, who I believe is is estranged, comes back into the picture and and he is a once famous director or a famous director and I think you know he's trying to heal his relationship with them. At the same time, I believe he's written something and wants to take on a project that's somewhat inspired by his family life and he even brings it to the daughter, renata Reins, as a possible role and from what I understand she passes on the part and that brings him to take the part to another actress, which I believe is going to be the role for Al Fanning in this film, al Fanning starring in this film. This is again a co-production. As far as I know, some of it is in Norway, some of it's from Denmark and I think wouldn't be surprised if some of it was shot stateside or is in the English language, but so I think that's where we're going to get Al Fanning right, possibly as that actress you know who else is in this movie is Corey Michael Smith right, who had a little bit of a scene stealer part in saturday night and it's sort of may december, may, december, right may, december, often with with yeah, todd haynes exactly so he's no stranger to con himself to scene stealing right or to scene

Joseph:

stealing. You're right, um and um. You know he's a very bright future and so he's in this as well. I'm not sure in what capacity, but I found it very interesting that he's in this. Um, I think a lot of his frequent collaborators are on this, but I think a lot of eyes are on whether this neon film can win the palm dior again, because onora just came off of the neon win right and you got triangle of sadness, which was picked up by Neon, I believe, before it premiered. So is Neon going to go the distance again? I mean, I forgot that. I believe that Palme d'Or did go to Anatomy of a Fall right, and that was another Neon release.

Jules:

I'm going to say my gut tells me that this is going to be the year that we're sick of Neon, that I think they're going to look elsewhere and elsewhere and not give neon the palm d'or win, otherwise it would feel too, you know, you know, I don't know, uh, purposeful, let's just give the neon film festival, brought to you by neon films right.

Jules:

So I think they're. They're, my gut tells me. I mean, having not seen any of the films, and I'm sure this film is going to be great. I, I love Joaquin Trier, you know. I just think that they're going to want to, you know, give another studio an opportunity.

Joseph:

Well, I mean, what do you think about the Renata Ryan's playing an actress on this? You think that's going to be another Beatty Rover?

Jules:

I do think. So I don't think that she is going to win best actress at con, which I think greatly helped.

Joseph:

Well, she got snubbed last time.

Jules:

Right? Well, no con. I mean I don't think she's going to win best actress at con, because she won. You don't think she's going to win for this one, right, because she won for worst person in the world. Oh, I'm sorry. Yeah, so you know that's probably not on the cards for her, so she you don't think they're going to give it to her twice in a row.

Jules:

Yeah, I'm not sure if there's a rule against that or not, I'm not very well versed on those particular rules, but I doubt that she wins so close behind you know, 2021. And so I think it would have to kind of make an impact elsewhere in the awards. But I think, certainly, I think the Academy at least. You know, the trends in the past have been that they like actors playing actors, and so, uh, I think that bodes well for her chances and I think she was very snubbed. She had a great performance in Worst Person in the World. She probably was super duper close, and so if this film is even just remotely in the avenue of you know, success, I think she's going to stand a terrific chance.

Joseph:

I think all that's well said. I mean talking about Snub, we talk about Elle Fanning had a great year last year. Yeah, this year she, I think, is poised to have another great year, at least going to have one title in Cannes. But I expect her to have a couple more titles in the festival circuit this year, also playing circuit this year, also playing an actress. Do you think maybe there's a chance there for supporting actress for her?

Jules:

Yeah, I mean, I would really hope so. I think it's kind of crazy that someone like Elle Fanning, with the you know career that she's had and the talent that she has, has never been nominated for an Academy Award. I would love to see her there. I think a lot of actors feel that way about her. She's, you know, among the brightest in her age group. I think everyone knows that we're going to continue seeing great things from her, so it was kind of a bummer to see that she couldn't capitalize on that for Complete Unknown. She was so good in that movie, so it'd be nice to see her in the conversation as well.

Joseph:

Yeah, maybe she'll fulfill that potential, I think this year, with that nomination. And then you know, Stellan Skarsgård, the great Stellan Skarsgård, who has never been nominated, who has never been nominated? Who is you know? You just see his face and you know who it is. Yeah, Is playing the estranged father slash director in this film.

Jules:

I would say that that's one. I think that's one of the biggest, if not the biggest part to look out for, right. You know, I think Stanskarsgaard is way overdue for a nomination, and so if he has a meaty part in this film and it does well, I see absolutely no reason why he wouldn't be a major factor in the awards conversation.

Joseph:

You know, what I thought was interesting about this and why I sort of brought it up also, is the idea that Compleason again that production company associated with Miranda Adea, who was behind Maria Spencer Corsage Ahead's Knee. You know it. Just, I found it interesting because it's a whole father-daughter relationship here.

Jules:

Oh yeah, Tony Erdman, yeah it's.

Joseph:

Tony Erdman had the same sort of thing, at its heart with a wonderful film.

Jules:

Yeah.

Joseph:

And so I think this has the Miranda Dea sort of seal of approval. She has great taste, she has amazing taste, amazing. So certainly I think all eyes are on this film to potentially win the Palme d'Or. You're saying they're going to go elsewhere. I totally buy that argument.

Jules:

Well, no, I said they're going to go elsewhere for actress, for actress.

Joseph:

Right, excuse me. So what do you think about the Palme d'Or as well?

Jules:

as that. Yeah, the Palme d'Or will not go to a neon film.

Joseph:

The neon streak ends with Onora.

Jules:

I think it's very interesting Kind of makes sense. Onora climbed all the mountains that were to climb Right that's it so now that's a new slate.

Joseph:

Yeah, I'm sick of neon says.

Jules:

Khan, no, no, no I'm kidding.

Joseph:

Anyway, I think that brings us up to the last title that I want to talk about today. Again. So, titles, I hope we can talk about them some more on our next episode, but I think it would be so appropriate to end with a film that I think we're definitely going to see there, along with some of these other titles we've mentioned today, which is the new film from Julia Ducarnel entitled Alpha Julia, of course, coming off her win for the Palme d'Or in 2021, same year as worst person in the world for her film titan, which I absolutely adored. Um, that film did not make very much noise, uh, interestingly enough, talking about paul thomas anderson, he, he liked the film. Um, it was a very popular film amongst critics and I didn't get the support that other films had gotten to get nominations. But I bring this up because it is yet another neon presentation here. This is neon behind this film as well, right, uh, film nation, I think also here. Um, and I think julie dukernow is so interesting because we talk about titan not being nominated for any oscars. But I've told you before, I think it was so instrumental the idea that Teton comes out in competition in Cannes and wins the Palme d'Or. I think it was so instrumental to the idea of the substance being made and the substance finding success within Cannes and with global audiences, within con and with global audiences. Just this idea that we're in this possibly exciting moment, this exciting era, where these very assertive, bold female voices are really exploiting the genre, genre filmmaking, to come up with these really singular pieces of cinema. I think that was sort of the burgeoning of that was Teton, and so I don't think that julia du carnau could repeat as a palm d'or winner. I don't, I don't think so, even though it's happened with reuben oslund most recently. Um, but I think she's missing that attention at the academy because titan wasn't even up for foreign film.

Joseph:

And so from what I understand about this project, uh, set in the 1980s I believe and I leave the the plot summary or the synopsis has been sort of presented as this idea of this young girl who's sort of ostracized by her, by her classmates, uh, because of rumors that swirl, or, uh, this idea that she is carrying this infectious disease. Some people have brought up the idea that there's some similarities here between this film and an earlier short film of Julia's career. Maybe we're going to see some of that I think. The other thing that I know is we have someone like Tahar Rahim on this film and the wonderful actress who, interestingly enough, had a really scene-stealing part in Patterson Golshifta Farahani, I believe, is her name. I hope I'm pronouncing it right, but she's a wonderful actress. She's in this as well, and there's a young, young girl in the film. I think they're going to play sort of these parental figures.

Joseph:

Um, from what I understand, tahar rahim lost an incredible amount of weight to play this role and, uh, from what I understand, there's been rumblings online that julia dukernel was sort of investigating interesting ideas about sort of I think it's called regression therapy, you know, a sort of hypnotism that you're trying to go back to past traumas in your life or traumas in a past life.

Joseph:

At the same time, she was really seeking out the counsel of, I believe, of, I believe, act Up, which was really involved when the HIV sort of epidemic, you know, unfolded in the world and the United States and certainly in New York City.

Joseph:

I believe part of the film is shot in New York City.

Joseph:

I think, from what I've read, julia Dukernow had a residency in New York and so it sort of reminded me a little bit of Andrea Arnold's residency stateside I think it was New York as well before she made American Honey in 2016, which would premiere in Cannes, and so I think Julia Ducournau took the opportunity of that residency to explore these things she wanted to talk about and maybe tried setting it in New York City.

Joseph:

Of course, this is a co-production with France, among other countries, I believe, but I think we're going to possibly see a tale that unfolds in New York, with sort of the HIV AIDS epidemic sort of possibly in the background there or in the subtext, and I think that may be a little bit in the conversation of what's you know going on in Julia's mind in terms of making this film could be really interesting stuff. It would be really interesting to see Julia sort of do an English language film, but I'm sure she's going to bring her unique mix of genre, her unique love for, you know, the cinematic. I think this is a really exciting film.

Jules:

again, neon has a problem here because they have two competing projects right um well, they had that last year too, with an aura and the seat of the sacred fig they did, they did, uh, to the detriment of the seat of sacred fig.

Joseph:

Might I add a film that I loved last year? Um, but you're right, and, and the winner came from among those two. And so what do you think? I'm not sure Alpha can repeat at the Palme d'Or, but do you think that Alpha may be the film that brings her stateside to some Oscar attention?

Jules:

Well, you know, I think all the details that you managed to dig up are absolutely fascinating. You know, just based on those details, I can't wait to see this film. I think Julia D'Arcornau is a very talented filmmaker. Um, I loved her debut film, raw. I love, love that movie.

Jules:

I was more okay with Teton personally, um, but I certainly think she's the kind of filmmaker that will make a splash wherever she, wherever her films end up, um, uh, she just, you know, that's just, that's just her, um, and so I'm looking forward to this.

Jules:

I agree with you, I don't think that she can repeat as, like as a Palme d'Or winner, um, but, uh, I do, and I do agree with you that the success of Teton in Cannes sort of uh, or for what would be to come with the substance a few years later, I do think that the substance had, you know, a sheen, or rather, I should say like a facet, that you know a movie like a body horror movie like Teton was missing regarding, you know, sort of more directly commenting on the industry and femininity, and you know the aging female actor, you know all these things, these elements that I think really helped catapult the substance into becoming what it eventually became Uh.

Jules:

So I think her her body horror film and Teton didn't have that, and raw obviously didn't have that either. So I'm not sure she's that interested in those kinds of aspects, um, and so I'm not 100 sure that I see her being you know a awards uh kind of filmmaker, a filmmaker that's sort of you know uh destined for this sort of you know awards platform so you don't think she'll be able to cross over with this film possibly.

Joseph:

I mean, it is possibly set stateside Right and it is possibly partly in English. Yeah, no.

Jules:

I wouldn't say that. I don't think that. I. Just, having seen her last two films, I think I see her a little bit further removed from Crowley Farja and where the substance ended up. That being said, again, I think that she's always fascinating her a little bit further removed from Crowley Farja and where the substance ended up, um. That being said, again, I think that she's always fascinating. I think she's going to cover some very fascinating material here, just based on everything that you shared with us, um, and so possibly it's, it's certainly possible that uh, it, uh, you know, breaks out into um. I know the awards conversation. I will say that Tahar Rahim is an incredible actor.

Joseph:

That's what I was going to bring up. What do you think about Tahar? I think Tahar.

Jules:

Rahim is an incredible actor who's sort of been on the cusp before with regard to awards prospects, awards conversation.

Joseph:

He got really close. I think he got really close with Mark Tanyan in 2020.

Jules:

And so here he is again. You know, I think he's an amazing actor. I'd love to see him in the conversation. I think it's it's significant the amount of weight that he lost for this role. Um, I think it's a supporting role right.

Joseph:

Do you think it's exactly?

Jules:

um, and it's just, you know it's, it's obviously it would feel to me that it would be a demanding you know demanding part, and so I think there's certainly possibility there for him to shine there.

Joseph:

And of course, tahar Rahim, I think, has the benefit of having worked in a more international capacity than some of the other actors who are going to be in con. You know, he was in that spider sense lady spider, whatever movie with Dakota Fanning. He's been on television. He got really close with Maura Tanyan which I thought was a wonderful performance from him.

Joseph:

I wish he would have been nominated for it, but it was so competitive and it is supporting actors, so I wouldn't be surprised for him to end up in the conversation there. You know, I think as we wrap up I think today's conversation, we have more titles to discuss. I hope we can get to next time, but I'll leave you with one little pebble for food for thought. I believe Julia Ducarnel most recently worked with Julia Binoche on that Apple TV series.

Jules:

Oh, really the new look or the look. She was part of that. I haven't seen it. She was a part of that.

Joseph:

I believe Julia Ducarnel had some directing duties on that Interesting and Julia Binoche was in it. Very interesting, you're right.

Jules:

She directed two episodes Interesting and Julia Binoche was in it. Very interesting. You're right, she directed two episodes.

Joseph:

Yes and Julia Binoche, I believe, starred in it had at least a portion of it.

Jules:

Yes, yes, absolutely.

Joseph:

And so I'm just going to leave that for some food for thought in terms of how successful. The film could be at Cannes.

Jules:

That's not to me. You know that's not the only award that she's. You know she hasn't won all the other awards.

Joseph:

Right certainly.

Jules:

Something like the Best Director award is still in play Right, of course.

Jules:

Well, that's been our sort of preliminary dive into the Cannes Film Festival, what we believe will be appearing on April 10th on their official lineup. We believe will be appearing on April 10th on their official lineup. We have a lot more titles to go through. We're going to go through them next time on our next episode, and at the end of going through all our titles, we will be giving our official predictions of what we think will actually be making the final lineup at con All right, so thank you for joining us today, until next time.

Joseph:

This is Joseph and this is Jules, and it's been a pleasure.

Jules:

Thank so. Thank you for joining us today, until next time. This is Joseph and this is Jules, and it's been a pleasure, thank you. The music on this episode entitled Cool Cats was graciously provided by Kevin MacLeod and incompetechcom, licensed under Creative Commons by Attribution 3.0. Http//creativecommonsorg licenses buy 3.0.

Joseph:

Disclaimer the Academy Anonymous podcast is in no way affiliated or endorsed by the Academy of Motion Picture Arts and Sciences.