Emily Blunt disappointed by Cannes’ rumored red-carpet high-heels policy

20 May 2015 | Author: | No comments yet »

Cannes Shoe Flap Sparks Latest Gender Controversy in Hollywood.

The “Into the Woods” star is just one of many to speak out against the glitzy film festival’s alleged high-heels mandate for those making the march up the Palais des Festivals stairs, which is seen as the latest sexist misstep to come out of this year’s famously formal gathering.New York women say the Cannes Film Festival seriously stumbled by turning away several stars for wearing flats instead of the requisite stilettos at a red-carpet premiere. Blunt addressed Tuesday’s reported ban on women’s flat shoes on the red carpet while speaking during a press conference for her film “Sicario,” calling the move “very disappointing.” “Everyone should wear flats to be honest,” Blunt said (via Variety). “We shouldn’t be wearing high heels anyways.

Actress Emily Blunt stepped into the debate on Tuesday while promoting her thriller “Sicario” at the South of France film fest, describing the whole thing as a shoe show. Asif Kapadia, director of the critically acclaimed “Amy” that premiered at the festival, said his wife was stopped for the same reason at his screening the day before and eventually let in.

So this year’s festival slate of films was greeted with consternation in some corners when a commonality was noticed across many of the festival’s in-competition selections: the English language. You see beautiful satin flats with little buckles in the 1890s for super formal occasions.” When it comes to picking evening-appropriate flats, she recommends dressier fabrics and finishes, such as satin or metallics, and embellishments like encrusted gem details, crystals and bows to elevate the shoe without the hassle of a heel. That’s very disappointing.” “As a sign of protest, Benicio [del Toro], Josh [Brolin] and I will walk the stairs in high heels tonight,” he said — perhaps joking, perhaps not, about the show of solidarity. On a continent that has warily watched English become a kind of de facto common language, fears flared that contemporary European cinema was being lost in translation. By their nature, Hollywood awards shows and red-carpet screenings, staffed by media outlets from around the world, focus film and TV fans on the appearances of their favorite stars and, in the case of women, how they dress.

The Hollywood Reporter dubbed the fracas “Flatgate” and corroborated reports that numerous women had been barred from gala screenings because of their footwear choices. Four other notable names in international film — Norway’s Joachim Trier, Italy’s Matteo Garrone, Greece’s Yorgos Lanthimos and Mexico’s Michel Franco — are all making their English language debuts.

Other festival-goers wearing practical shoes reportedly said they received similar treatment, and Screen Daily said that the glitzy festival confirmed that “it is obligatory for all women to wear high-heels to red-carpet screenings.” However, festival director Thierry Fremaux took to Twitter to debunk the report, calling rumors of the shoe shut-down “unfounded.” The official Cannes account retweeted the conversation. And Quebecois filmmaker Denis Villenueve, an Oscar-nominee for his French language “Incendies,” premiered his English language drug war thriller “Sicario” on Tuesday. It included panel discussions and honors at the “presidential dinner” for producer Megan Ellison and Jane Fonda. “Sicario” director Denis Villeneuve, who joked that he would wear heels for its premiere, revealed the screenwriter had previously been asked to rewrite the lead part for a man. As the festival has unspooled, many directors have defended their decision to switch languages for the sake of creative curiosity and for the greater opportunities it affords them.

The Southern California chapter of the American Civil Liberties Union and the national ACLU Women’s Rights Project called last week for the U.S. government and California to investigate alleged bias against women in front and behind the camera. The groups are providing data to the agencies that they say reveal dramatic disparities in the hiring of women directors in TV and on big-budget films.

His Cannes entry “The Lobster,” starring Colin Farrell and Rachel Weisz, certainly showed no loss of idiosyncrasy in its satirical tale of divorcees and single people who face being turned into an animal if they don’t find a spouse. “I don’t know what the fuss is about,” Lanthimos said. “It’s been always happening in this time and age, people live anywhere in the world, work anywhere in the world. The Geena Davis Institute on Gender in Media, founded by the Oscar winning actress, said last September that a study of 120 films distributed globally from 2010 to 2013 found that 23 percent featured female protagonists, while 31 percent of the speaking characters were women, and 8 percent had female directors. So I didn’t feel this was traumatic in any way when I moved from Italian to English.” Such a transition, of course, has been going on for as long as movies have been made, from F.W. Joachim von Trier’s “Louder Than Bombs” is a suburban New York drama about a family dealing with a mother’s death, starring Gabriel Byrne, Jesse Eisenberg and Isabelle Huppert.

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