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Robert Pattinson Pulls a Kristen Stewart in His Cannes Hit Good Time. In 2. 01. 4, two of the biggest stars in the world came to Cannes to show new sides of themselves. Kristen Stewart, still best known as the star of the Twilight mega- franchise, rebranded herself as an international indie darling with Olivier Assayas’s gorgeous, pensive Clouds of Sils Maria. She would go on to win a C.

Her Twilight co- star, Robert Pattinson, also had a film in competition that year, David Mich. That one didn’t fare as well, earning middling reviews and vanishing after a small release. He’s the star of the competition entry Good Time, a bank- robber- on- the- run thriller from New York brother duo Benny and Josh Safdie. It’s not a showy performance, but Twitter was nonetheless abuzz with effusive praise for Pattinson after Thursday morning’s press screening. Movie Dvd Darkest Hour (2017).

So, it worked! I’d argue that Pattinson had already proven his mettle this spring in James Gray’snear- perfect The Lost City of Z, in which he plays a laconic supporting role with a centered intelligence, communicating a calm thoughtfulness that was a vast improvement dead- eyed work as Edward Cullen. But Good Time certainly builds on that promise, and is an example for other young (or not!) actors out there looking to do a career renovation that the best path forward is oftentimes smaller, riskier films done with the right auteurs. The Safdies have been simmering for about eight years now, making tiny, well- reviewed films like Daddy Long Legs (which premiered in the Director’s Fortnight at Cannes) and Heaven Knows What, and are now enjoying a splashy Cannes competition breakthrough with a big- name movie star. Yet for me, the film doesn’t have a sense of event to it, small and claustrophobic and repetitive as it is. Good Time follows Connie as he traverses a cluttered nighttime Queens, avoiding the police and relying on the forced kindness of strangers in his quest to get his brother out of jail (and the hospital).

The film has an unrelenting momentum, and throughout, the Safdies exhibit a keen ability for capturing locality and arresting visual moments. That’s not a plea for likability—I don’t mind spending my time with a low- life scuzz who recklessly uses mostly innocent bystanders. But in a movie as up- close focused on that scuzz as Good Time is, there has to be something that binds us to him. For much of Good Time, I just wanted to stop running alongside Connie, to watch him disappear around a corner and be done with it and go to bed.

The film is bookended with scenes of Connie’s brother at two different kinds of therapy, patient and friendly counselors engaging with sad- eyed, soft- spoken Nick. These scenes are sensitive looks at a world we don’t often see on screen. But they seem out of place in the larger context of the film, like they’re grafted on as ploys for empathy or deeper meaning. It’s a mildly manipulative tactic, one that mirrors the way Connie exploits the kindnesses and vulnerabilities of the people he meets as he makes his night flight. I’ll give the Safdies the benefit of the doubt on that.) The Safdies have infused a welcome humanity into their film; there’s a sorrow and care to be found in the details of its characters. But Good Time still somehow doesn’t connect as anything more than a nifty genre exercise, and as a successful sizzle reel for Pattinson.

There’s much to admire about Good Time (though I’m still not sure what the title means), but that’s really all there is. It’s respectable, but it doesn’t grip. The film is a nice resume line for all involved, a technical feat that announces the arrival of talents both new and newly recontextualized. If only all that solid stuff had a stronger gravity to it, an undertow that drew us from our assessing distance and into the picture. Without that pull, the film races past and then is gone, a whizzing show of light and grit that’s only just good enough. You can find all of V. F.’s coverage from the Croisette—reviews, reports, photos, and more—at our Cannes hub.

Full Screen. Photos: 1/1. Vanity Fair’s 2. 01. Cannes Film Festival Portfolio. Salma Hayek, Fran. In 2. 01. 6, Pinault said the couple managed to find a memorable moment of quiet and solitude during the French Riviera’s frenzied festival.“Last year, we escaped the madness of the red carpet, and went to have the famous bouillabaisse at Tetou,” said Pinault, “It was a peaceful moment between two lovers and a break.”Photo: Photograph by Justin Bishop.

Hayek wears Yves Saint Laurent and a Boucheron necklace. Pinault wears Gucci. Tilda Swinton. This year, Tilda Swinton arrived at the Cannes Film Festival to premiere Okja—Bong Joon- ho’s Neflix action- adventure movie—but she had other matters on her mind when the Oscar- winning actress set down on the French Riviera. You just look out at the ocean and fantasize about holding out on one of those boats.”Four years ago, a band of presumably less- Oscar- decorated actors had a similar idea: “Chopard had a heist a few years ago, they took the whole safe,” Swinton recalled of the robbers, who reportedly ripped an entire safe out of a Novotel hotel room, before making off with the diamond goods. Swinton wears Celine. Mary Parent, Emmanuel “Chivo” Lubezki, Alejandro I.

Seventeen years later, with back- to- back Oscars for The Revenant and Birdman under his belt, the Mexican filmmaker has returned to Cannes with a ground- breaking project, the festival’s first ever virtual- reality installation, Carne y Arena. I don’t know what it is exactly, but it’s something new.

It was very difficult, very expensive to come. But it was a great compliment.. So we improvised.

We decided, let’s go!”Photo: Photograph by Justin Bishop. Naomie Harris. There is no better backdrop for luxury brands to showcase than at the Cannes Film Festival. Grace Kelly, Ingrid Bergman, and Elizabeth Taylor juxtaposed fur and jewels with film and the French Riviera in iconic photographs. And now Naomie Harris, the Oscar- nominated actress and Skyfall’s own Eve Moneypenny, carries on the glamorous tradition of dazzling at Cannes. For someone like Harris, who is attending this year’s festival in her role as ambassador, the red carpet is the main event: “The most memorable moment for me was walking the red carpet—of course, in my Swarovski—and feeling confident, beautiful, and empowered.”Photo: Photograph by Justin Bishop. Download This Is Not What I Expected (2017) Movie In Hd on this page.

Harris wears Delpozo, Rupert Sanderson shoes, Swarovski accessories. Todd Haynes. It’s been almost two decades since Todd Haynes debuted Velvet Goldmine at Cannes—his 7. The film won the fest’s prize for best artistic contribution, but Haynes—who has since made sumptuous period dramas Far from Heaven, Carol, and this year’s Wonderstruck—remembers what happened after hours most of all.

I was probably super high,” Haynes laughed, “but I still think this really happened . It was a lot of drinks, a lot of drugs, a lot of debauchery. It was totally appropriate for the film.”Photo: Photograph by Justin Bishop.

Sofia Coppola and Elle Fanning. Nearly four decades after her first trip to the Cannes Film Festival, to see her father premiere Apocalypse Now, Sofia Coppola has made her own fest history by winning Best Director for her fabulous, feminist take on The Beguiled. Recalling her first festival, at the age of seven, Coppola told Vanity Fair, . It was a circus but fun, glamorous.. Coppola told Vanity Fair that she never intended on remaking a movie, but once production designer Anne Ross (Lost in Translation, Somewhere) planted the idea, Coppola couldn't let it go.

It was a traumatic experience.”Twenty- five years later, when Gainsbourg debuted the controversial Lars Von Trier film Antichrist, she steeled herself for similar feedback.“I thought . Gainsbourg wears Saint Laurent.