German star at Cannes condemns ‘madness’ of protective culture for UK child actors

Cast member of Palme d’Or contender shot in Kent says the high number of chaperones and intimacy coordinators on set was over the top

Is Britain leading the way in protecting young people and children from the potential traumas of working on a film set, or has it all gone far too far? Two of the most prominent European stars attending the Cannes film festival, both with high-profile premieres, have very different views.

Franz Rogowski, the acclaimed German actor who plays a key role in Bird, British director Andrea Arnold’s contender for the top Palme d’Or prize, said this weekend that the proliferation of chaperones and intimacy coordinators that had been required on the shoot on location in Kent qualified as well-intended “madness”.

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‘Explosive’ secret list of abusers set to upstage women’s big week at Cannes film festival

Crisis management team reported to be in place as Meryl Streep heads roster of female stars and directors collecting accolades

For good and bad reasons, on and off the red carpet, the spotlight is trained on women in the run-up to the Cannes film festival this week. As the cream of female film talent, including Hollywood’s Meryl Streep and Britain’s Andrea Arnold, prepare to receive significant career awards, a dark cloud is threatening. It is expected that new allegations of the abuse of women in the European entertainment industry will be made public, which may overshadow the sparkle of a feminist Croisette.

Streep’s screen achievements will be celebrated with an honorary Palme d’Or at the opening ceremony, while a day later Arnold, the acclaimed British film director, will receive the prestigious Carosse d’Or from the French director’s guild. And on Sunday another influential British film personality will be saluted when diversity champion Dame Donna Langley, the chairman and chief content officer at NBCUniversal, is to be honoured with the Women in Motion Award at a lavish dinner. All this comes in a year that also sees the American director Greta Gerwig, best known for last summer’s Barbie, presiding over a jury that features the campaigning stars Eva Green and Lily Gladstone. But the story of the 77th festival will not be all positive for women.

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‘I kept saying – don’t worry Luma, we see you’: Andrea Arnold on her four years filming a cow

The Oscar-winning director’s new documentary explores warmth, joy and anger through the eyes of a farmyard animal. She reveals what it taught her about life

Andrea Arnold’s films are known for their spare dialogue, and in her first documentary it is more pared-backed than ever: Cow consists of 94 minutes of moos, with the odd off-camera interjection from farmhands. It is hardly a thriller (though the ending is pure Tarantino). But it is one of the most beautifully crafted and tender portraits of a life you are likely to see.

Arnold, who started her professional life as a rollerskating TV presenter on the children’s Saturday show No 73, began thinking about documenting an animal’s life nine years ago. Eventually she settled on a cow. “I thought a cow would be interesting because they work so hard, getting pregnant and giving milk their entire lives. It’s a huge job they do.” She chose Luma because she was told she had a big personality and was feisty. Arnold and her team spent four years, on and off, filming her. Why did she make Cow? “I wanted to show a non-human consciousness. I was intrigued as to whether we would be able to see her consciousness if we followed her long enough.”

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