Paul Dano, Brie Larson Get Jury Duty at the Cannes Film Festival 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.” 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. While studios experimented, Cannes stuck to its (top) guns, lending the upcoming theatrical releases for Pixar’s “Elemental” and Martin Scorsese’s Apple-produced “Killers of the Flower Moon” an additional veneer of vindication. Well, what a difference a half-decade makes! As returning directors Bong and Östlund (as well as Class of 2018 revelation turned 2021 prizewinner Ryusuke Hamaguchi) reset the awards debate, Cannes also kept the faith in an historic and collective model of film exhibition threatened by two years of pandemic shutdowns. Phoebe Waller-Bridge and Harrison Ford in “Indiana Jones and the Dial of Destiny” (Lucasfilm)
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