Cannes looks beyond Hollywood as US film-makers mostly fail to make the grade

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The 79th edition of the influential festival boasts an auteur-heavy lineup – with one, very big, country conspicuous by its almost total absence Gillian Anderson and Cara Delevingne to hit Cannes as auteur heavyweights dominate festival lineup Has Europe fallen out of love with the US? Has Cannes fallen out of love with Hollywood? Will the festival, like Nato, become a non-American institution? Either way, the annual announcement of the Cannes selection has revealed a list that skews away from Hollywood towards a renewed dominance of world-cinema auteurs and heavy hitters, including Pedro Almodovar, Cristian Mungiu and Asghar Farhadi. There’s certainly nothing to compare with last year’s Tom Cruise Mission: Impossible extravaganza, although there are directorial debuts out of competition for Andy Garcia (also starring) with his crime drama Diamond, and John Travolta directs Propeller One-Way Night Coach, expressing his love of aviation, based on his own novel. There are no Britis...
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‘It’s unsustainable’: can Hollywood survive without transformation?

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Despite the success of Barbenheimer, the industry faces strikes, AI concerns and an untenable situation for those not at the top

It was a pink mushroom cloud that even enveloped the White House. “Did you see Barbie or Oppenheimer this weekend?” a reporter asked the press secretary, Karine Jean-Pierre. She replied: “I knew I was going to get that question. I did not. But heard that it did very well.”

Both films did very well: Barbie collected $162m in ticket sales while Oppenheimer, about the father of the atom bomb, earned $82.4m. It was comfortably the best weekend at the domestic box office since the coronavirus pandemic. But when future historians come to study the “Barbenheimer” phenomenon, they may still have a question: was this the dawn of a Hollywood renaissance or glorious last stand of an industry in decline?

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