CANNES, France – The Cannes Film Festival, again, belongs to Léa Seydoux.
Last year, he had four films at the festival, but he didn’t miss them all because he tested positive for the Cavid-19. But this year, Seydoux starred in two of the best films of her career in a pair of open-air films: Mia Hansen-Love’s “One Fine Morning” and David Cronenberg’s “Crime of the Future.” Together, they have only reinforced the notion that Seydoux is the leading French actress of her generation.
On a recent afternoon a few blocks from the Cannes Palais de Festival, Sedox gave a cheerful welcome to a reporter. How was she “Great!” He replied. “Shouldn’t I be great?”
The 36-year-old Seydoux has already made a big mark in Hollywood, especially taking on the one-time stereotypical role of “Bond Girl” and expanding the character – a “Bond woman” he redefined – adding a new dimension to several films. The depth of the right to vote. Seydoux was so good that even James Bond wanted to settle down.
But in this year’s Cannes it is particularly clear that Hollywood was a stop for many in Seydoux’s fast-growing, exceptionally diverse career, who still remains one of Europe’s most famous faces, revealing mysteries on screen. He is omnipresent and elusive at the same time.
“I carry a grief,” said Sedwicks, referring to a shy childhood. “Movies are like a game to me. It is a real comfort because, in a way, I have turned my sorrow into an object of beauty. Or I tried, anyway. It doesn’t work every time. “
“If I didn’t have a movie, I’d be very sorry,” he added. “So I work all the time. It’s a way to connect. “
In “One Fine Morning,” one of Can’s standouts, Seddox plays a young widow who is raising a girl in Paris and caring for her elderly father, whose memory is fading. After reconnecting with an old friend, an enthusiastic affair follows. “One Fine Morning,” wrote Hansen-Love, a semi-autobiographical movie, shortly before his own father died in COVID-19, shaking with the inexhaustible coexistence of grief and love, death and rebirth, and the annoying instability of life. Hansen-Love, “Bergman Island” filmmaker, wrote this with Sedx in mind.
“She was probably my favorite actress for this generation,” Hansen-Love explained. “She is so mysterious that there are very few actresses. He’s not trying to show things. He is not affected. “
The writer-director added, “There is a sadness and sadness about him that contrasts with his dignity as a superstar that moves me.” “On the one hand, she is a very glamorous personality in the cinematic landscape. She is very sexy. He’s in a movie where he’s seen from the perspective of a masculine imagination, and he enjoys it a lot, I think. But there is an innocence and simplicity about him that gives me the same feeling when I picture unknown actors.
Sony Pictures Classics on Monday acquired the film for U.S. theatrical distribution, calling it Seydoux’s “best performance ever.”
With the lead up to this moment, Seydoux has felt some bad aspects of the movie business. In 2017, she said that Harvey Weinstein once tried to forcefully kiss her in a meeting in a hotel room which was apparently about a potential role. The technique of filming the lesbian romance “Blue is the Worst Color”, where Kechiche can shoot up to 100 in one shot, has also been questioned.
But Seydoux, who recently signed with “Happening” filmmaker Audrey Diwan to adapt to the erotic novel “Emmanuelle”, said he never hesitated to reveal his sexuality on screen. “One Fine Morning” is one of Cannes’ most sensual films, taking advantage of Hansen-Love’s approach.
“I felt like this movie was a matter of emotion,” Sedox said. “I have no problem with nudity. It’s something I like to see as a visitor, as a visitor. I think it’s beautiful. I like sex scenes in movies. “
In Cronenberg’s “Crimes of the Future”, which opens in theaters on June 3, Sidwux stars are more focused on a film with Vigo Mortensen. In the future where humans and plastics have come close, he plays the role of a surgeon who performs surgery to remove tumors and organs with an artist’s flare.
“Honestly, I didn’t understand everything about the film,” Seddox said with a laugh. “For me, it’s like a metaphor for being an artist.”
“Crimes of the Future” may represent a common science-fiction world, but Seydoux is significantly based on it. Eager for more open-ended cinematic adventures, Seydoux says making a variety of films “How I feel free. I don’t want to be stuck in one place. “
“I’m not crazy about ‘entertaining’ films,” says Seydoux. “I don’t think I go to the movies for entertainment. I know it’s a big deal in America. I like to ask myself more questions. I don’t like answering. I don’t want to stop thinking. I think certain films are just to feed you with pictures. “
“I love to feel like I’ve touched something truthful,” Seddox added. “In this world we live in today, Instagram and everything that lies. I think with movies we can touch a certain truth. And there are many truths. I love to touch. I feel alive. “
Follow AP Film Writer Jake Coyle on Twitter: http://twitter.com/jakecoyleAP
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