Matt Damon cried during the long standing ovation for his new movie “Stillwater” after the film’s premiere in Cannes, and on Friday he spoke about why he cried in the moment and why he chose to play a character who “was fine. sure, “argued Donald Trump.

“He is who he is and he’s from where he’s from, and the film has a lot of empathy for him, and so do we,” Damon said at Friday’s press conference. “These guys don’t apologize for who they are or what they think they are. “Do you have a gun? Yeah, I have two.

Damon’s character in “Stillwater” is a thug from Oklahoma who travels to France and goes to great lengths to save his daughter from a French prison. At one point, his French companions asked him if he had voted for Trump, and he replied that he had not, but only because he was a criminal in prison.


But Damon and “Stillwater” director Tom McCarthy said they spent much of their time in Oklahoma meeting the movie’s “bullies” who spend hours driving from oil rig to oil rig. and at home. He learned why they wear some flame retardant jeans compared to others and how it makes you walk. He explained that every detail of understanding their culture was essential to properly defining the character.

“We got so much advice from the real guys,” Damon said. “It’s a very culturally specific place, and a very different place from where he and I grew up. So these people were wonderful to us and really helped us. When I first read the script, I had no idea how specific this culture was to Texas and Oklahoma.

But Damon also took the time to congratulate his co-stars, describing that after the first scene he shot with actress Lilou Siauvand, he realized that she was the “Meryl Streep of the children of 9 years”. “She’s given something different with each take, which takes decades to learn, but somehow she knows it intuitively,” he said.

As to why he finally cried, he said he had been to Cannes several times before, but the reality of returning to Cannes during the COVID-19 pandemic was unlike anything he had experienced before .

“We are all changed forever this year. It is a very inhuman reality that we have been asked to live in. This lack of human connection is very inhuman, it is not the way we are supposed to live. It’s scary and anxiety-provoking, ”he said. “All of these things, we’re not meant to be cut off from each other.”


Andrea Arnold hints at the “Big Little Lies” experience

Andrea Arnold’s documentary “Cow” received high praise from critics after Thursday’s premiere, with some writing that it gives an empathetic portrayal of animals that is larger than anything you might see in a cartoon animated from Disney, and it even features a sex scene that could be better than anything people thought of Adam Driver and Marion Cotillard in “Annette.”

You can see another reaction to “Cow” below. But she hinted at her experience directing the second season of “Big Little Lies,” saying the eight years it took her to make “Cow” overlapped with filming the HBO series.

Arnold also danced cautiously around the 2019 reports that “Big Little Lies” was cross-checked without her knowledge, something she didn’t talk about and the network pushed back. And although she declined to comment well beyond saying, “I learned a lot,” she revealed that she worked with five different editors on the show. And while she would have liked to be able to work on “Cow” in the evenings after finishing the day on “Big Little Lies”, she was often exhausted.


Cannes films already sold Bergman Island Flag Day Lamb

“After Yang” could be a highlight of the festival

Premiering Thursday in the Un Certain Regard section is the second film by US director Kogonada, his follow-up to the independent drama “Columbus”. This movie has a lot of ardent supporters, so the anticipation was high for those in the know. And it certainly started auspiciously, with one of the stars of the film, Jodie Turner-Smith, showing up to the premiere in a lovely ball gown with a massive train.

“After Yang” isn’t quite a trip through rural Indiana, but a science fiction that has earned some comparisons to Alex Garland’s “Ex Machina”. Collider said it was the best AI movie in years, and Little White Lies said it was “a broad but intimate portrayal of heartbreak and identity, and solidifies its screenwriter. / director as one of the most exciting new voices in cinema “.

See some of the other online reactions to the film below:

Check out TheWrap’s Cannes digital magazine issue here. You can find all of TheWrap’s Cannes coverage here.

Cover of TheWrap Cannes issue

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