Butt grab! Cate Blanchett and Rooney Mara caught with their hands on their …

18 May 2015 | Author: | No comments yet »

Butt grab! Cate Blanchett and Rooney Mara caught with their hands on their director’s derriere.

CANNES: Cate Blanchett’s reputation as possibly the greatest actresses of her generation is being further cemented at Cannes, where the premiere of her latest movie “Carol” has won rave reviews. The pair were joined by Natasha Poly, Erin O’Connor, Lindsay Ellingson and more in their giant frocks as they wowed in front of the cameras at the Carol premiere.Nonetheless, countless filmgoers have been doing just that over the weekend, all over this sun-kissed Cote d’Azur resort town, which plays host to the Cannes Film Festival every May. Born in Melbourne on May 14, 1969, Blanchett began her career on the Australian stage, building up a string of acclaimed theater performances in the early 1990s before working her way into increasingly high-profile film roles. Cate was rumoured to have had relationships with women in the past recently, but today took the opportunity in sunny France to slam the claims, adding: “In 2015 the point should be ‘who cares’.” “And I said: “Yes, many times.

No doubt the group was feeling pretty giddy following the absolutely overwhelming response to Carol, which had its gala premiere here on Sunday — right after this photo call and a press conference in which Blanchett got serious about her love life. She is now one of the few women in Hollywood with the clout to carry a movie single-handed, a two-time Oscar winner chased by the world’s greatest directors, from Martin Scorsese to Woody Allen to David Fincher. Nearing its midpoint, with most of the 19 competition titles yet to screen, the 2015 festival has yielded a remarkable feature filmmaking debut from Hungarian writer-director Laszlo Nemes.

Variety magazine says Blanchett is “incandescent” in “Carol,” playing a socialite who begins a sexual relationship with a shopgirl (Rooney Mara) despite the personal and societal hazards that poses. “Midrange films with women at the center are tricky to finance,” she told Variety. “There are a lot of people laboring under the misapprehension that people don’t want to see them, which isn’t true.” She made her breakthrough performance in 1998, playing the 16th-century English queen in “Elizabeth,” which won her a slew of awards and her first Oscar nomination. The film, “Son of Saul,” already has prognosticators talking about its odds, nine months from now, of winning a foreign-language film Oscar, as “Ida” won this year. By 1999, she was back in Cannes, but this time as a star, presenting “An Ideal Husband.” Blanchett has been nominated for six Academy Awards, winning the supporting actress statuette for another pitch-perfect impression, as Katherine Hepburn in “The Aviator” in 2004.

Blanchett has also dabbled in several blockbusters, appearing in “Indiana Jones and the Kingdom of the Crystal Skull,” “Robin Hood,” and all of Peter Jackson’s JRR Tolkien adaptations. Taking place over a day and a half in October 1944, in the Auschwitz-Birkenau concentration camp, Nemes’ film keeps the camera unnervingly close to the face, the haunted eyes and the experiences endured by one prisoner, Saul, played by Geza Rohrig as a driven ghost of a man.

The Nazis have assigned Saul to the Sonderkommando, made up of Jewish prisoners treated by the Germans as a higher class of the doomed, aiding the Nazis in the death camps. Ripley” to the crusading Irish journalist in “Veronica Guerin” or another heavily accented (and pregnant) reporter in Wes Anderson’s “The Life Aquatic with Steve Zissou.” Blanchett has repeatedly returned to the stage, to similar levels of acclaim. The New York Times described her as “one of the best and bravest actresses on the planet” after watching her in 2011’s production of “Uncle Vanya.” Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The unspeakable activity of Auschwitz (the ovens, the shoveling of ashes) is never sanitized, yet it remains a deliberate, unsettling blur, just beyond complete visual clarity — much as Auschwitz itself lay just beyond a century’s perceived limits of inhumanity. Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)

The film concerns this man’s attempts to give the boy a proper burial; to locate a rabbi to oversee that burial; and to do so without jeopardizing the prisoner rebellion afoot. Another early favorite for next Sunday’s awards, director Todd Haynes’ Patricia Highsmith adaptation “Carol,” drew a rapturous response from the international press at the first Cannes screening Saturday night. It offered readers of the day, used to a pulp fiction diet of ill-fated outsiders, a lesbian love story with that rarest of rarities in the dawning Eisenhower era: a happy ending for its women in love. In screenwriter Phyllis Nagy’s canny script adaptation, Therese (Rooney Mara, creating a fascinating cipher on the verge of self-discovery) is instead a fledgling photographer, learning to trust what she feels as she learns to capture what she sees on film.

Haynes’ previous period dramas include the HBO miniseries “Mildred Pierce” and, mad for Douglas Sirk melodramas, “Far From Heaven.” With a red gash of lipstick borrowed from Joan Crawford, Blanchett is a formidable screen presence. That said, Blanchett is so spectacular in a key late scene, set in a lawyer’s office, the performance becomes a different performance, and the film becomes a different, subtler, richer sort of film. It’s the London-based Greek native’s first film in English, and, like his breakthrough head-twister “Dogtooth,” this one’s set in what appears to be the present. Reilly, Ben Whishaw and Rachel Weisz, among others, play unmarried citizens who have 45 days to find a mate and fall in love, or else they’ll be turned into the animal of their choosing. In the appropriately named Grand Theatre Lumiere, an hourlong program of brief, 50-second travelogues and sight gags by French film pioneers Louis and Auguste Lumiere, made between 1895 and 1905, served as a thrilling occasion to honor the birth of the medium.

Seated on the Grand Lumiere stage during the screening, festival general director Thierry Fremaux and veteran director Bertrand Tavernier offered lively, witty commentary and context to the turn-of-the-century glimpses of Paris, London, Moscow, Istanbul, Jerusalem … and Chicago.

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