--- title: Best of Cannes 2017: Loveless, The Class, The Beguiled description: The Cannes Film Festival always offers plenty of glamor and fun in the sun, but the dark side of the world is never far from view. canonical: https://time.com/4795742/best-of-cannes-2017/ author: Stephanie Zacharek article:opinion: false article:content_tier: free article:published_time: 2017-05-26T15:56:41.000Z article:modified_time: 2026-02-23T05:08:24.237Z article:section: Entertainment og:title: At Cannes, Plenty of Glamour and Darkness og:description: Shutting out the rest of the world is harder than ever og:url: https://time.com/4795742/best-of-cannes-2017/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blte1d61e6ac5d6c1a1/6988cf3bcd1bba731070563a/loveless-film.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: loveless-film og:type: article twitter:card: summary_large_image twitter:title: At Cannes, Plenty of Glamour and Darkness twitter:description: Shutting out the rest of the world is harder than ever twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blte1d61e6ac5d6c1a1/6988cf3bcd1bba731070563a/loveless-film.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  # A More Fraught Cannes, Inside the Screening Rooms and Out > Sponsored content. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account.  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic May 26, 2017 3:56 PM UTC  Matvey Novikov stars in Andrey Zvyagintsev's new film Loveless. Matvey Novikov stars in Andrey Zvyagintsev's new film Loveless.Arte France Cinéma  by [Stephanie Zacharek](https://time.com/author/stephanie-zacharek/)  ## Stephanie Zacharek Film Critic May 26, 2017 3:56 PM UTC Spending 12 days watching movies in Cannes is, for film lovers, pretty much close to paradise. And dashing from screening to screening, it’s usually all too easy to lose track of the world outside. Not so this year. Between the [bombing in Manchester](http://time.com/4793896/manchester-terrorist-attack/) and rapidly unfolding developments in the [Trump-Russia affair](http://time.com/4795373/fbi-kushner-russia-links-trump/), closing out the rest of the world was impossible. Even if nearly all critics and journalists attending Cannes dutifully switch off their phones during screenings, most of us couldn’t resist powering up immediately afterward to check for news updates. Plus, security was tighter than ever this year. The festival has always had concrete barricades lining the Croisette, but this year the authorities added more, many of them disguised, only semi-convincingly, as fat, round, oversized flowerpots. In the first week of the festival, a “suspicious package” scare prompted an evacuation of one venue right before an evening screening. At both press showings and gala premieres, the interior of every bag, be it backpack or cigarette-pack-size jeweled minaudiere, was inspected by the unfailingly polite staff, women in sleek Mondrian-style dresses that Emma Peel would have loved. Everything in Cannes—including the employees’ uniforms—is just a little bit glamorous. That’s less a way of avoiding an uncertain, scary world than an act of standing as a bulwark against it. But despite the dazzling, parade-of-stars setting, one way or another, Cannes always brings the outside world to its screens. Many critics here consider [Andrey Zvyagintsev](http://time.com/3443264/russia-oscars-leviathan-andrey-zvyagintsev/)’s [_Loveless_ ](http://www.latimes.com/entertainment/movies/la-et-mn-russia-loveless-cannes-20170520-story.html)to be a strong contender for the Palme d’Or, to be awarded here on Sunday May 28\. Whether it wins or not, it’s one of the best movies of this year’s festival competition. _Loveless_ is the story of a set of divorcing parents (Maryana Spivak and Aleksey Rozin) whose child who goes missing. But those are just the basics: Zvyagintsev—director of the 2014 Oscar nominee [_Leviathan_](http://www.imdb.com/title/tt2802154/)—uses that plot to weave an allegory about modern Russia and the heartlessness of its government. The picture is made with a seeming chilliness that’s actually a kind of anguished warmth, and it works both as the story of a nation caught in a thorny crisis and as a fraught drama of a family torn apart by its own coldness and greed. Another strong Palme d’Or contender is Swedish director Ruben Östland’s _The Square,_ a sardonic, darkly funny picture about a dashing museum curator (Claes Bang) whose dysfunctional institution is a microcosm of the larger world. Can art, or the tools used to promote it, cross the bounds of moral responsibility? What does it take to jog the upper classes out of their comfortable insularity? _The Square_ is both outlandishly funny and biting—and features a fascinating and sometimes disturbing performance by Terry Notary, the gifted actor and movement choreographer who has helped bring motion-capture characters to life in the _Hobbit_ and _Planet of the Apes_ movies. But if many of the movies at this year’s Cannes struck a somber or thoughtful chord, there was joy to be found too. In Francois Ozon’s rapturously twisted, Brian De Palma-style thriller [_Amant Double_](https://www.youtube.com/watch?v=SUuDns5gn50)_,_ a young woman suffering from possibly psychosomatic stomach pains (Marie Vacth) falls in love with her therapist (Jeremie Renier), whose secret life draws her into a web of deceit and kinky sex. Yet more proof, should you need it, that the French really know how to live. Other highlights, from both the Competition and other festival programs, include _Good Time,_ by Benny and Josh Sadie _(Heaven Knows What)_, which stars Robert Pattinson as a Queens lowlife who both manipulates and adores his naive, mentally challenged brother (played by Ben Sadie). The picture has a stylish, nervy energy, and Pattinson is terrific, a strong contender for the Best Actor Prize. And Nicole Kidman is pretty much the queen of Cannes this year, appearing in no fewer than four movies or made-for-television projects presented at the festival. She gives a marvelously complex performance in Sofia Coppola’s [superb fox-in-the-henhouse thriller ](http://time.com/4792198/the-beguiled-cannes-review/)_The Beguiled,_ but she’s wonderful, too, as the punk den mom in John Cameron Mitchell’s _How to Talk to Girls at Parties,_ an openhearted and boisterously entertaining interplanetary love story set in mid-1970s Croydon (and based on a story by Neil Gaiman). As always, the movies shown at Cannes, even the highly imperfect or downright aggravating ones—maybe _especially_ the highly imperfect or downright aggravating ones—spur more ideas than any critic can adequately process in a week and a half. And not surprisingly, a number of the films from European countries deal, in one way or another, with the menacing rising tide of nationalism. In 2014 Fatih Akin—whose 2004 _Head On_ was one of the most exhilarating pictures of the century’s first decade—brought a disappointing Armenian genocide drama, _The Cut,_ to the festival. His new film is much better, fairly straightforward dramatically but ultimately gently moving: In _In the Fade,_ Diane Kruger (in her first German-language role) plays a woman who loses her family to an act of terrorism and grapples with the morality—or lack thereof—of taking revenge. And in the Un Certain Regard program, Laurent Cantet (director of [_The Class_](http://www.imdb.com/title/tt1068646/), which won the Palme d’Or in 2008) gave us _The Workshop,_ a picture that seems modest on the surface but builds to a tense simmer, addressing, in an understated but affecting way, the insidious political tensions currently tearing at France. Marina Foïs stars as a Parisian novelist working with a group of aspiring young writers in a small coastal town. One student, Matthieu Lucci’s surly, frustrated Antoine, expresses alarming right-wing views that alienate the group, the teacher most of all. Cantet’s picture is a stirring humanist work, one that offers no easy answers. The Cannes Film Festival always offers plenty of [glamor and fun](http://time.com/4783561/cannes-red-carpet-fashion-2017/) in the sun, but the dark side of the world is never far from view. Movies, at their best, offer a few rays of light and of hope too. ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/4795742/best-of-cannes-2017/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/4795742/best-of-cannes-2017/"},"headline":"A More Fraught Cannes, Inside the Screening Rooms and Out","datePublished":"2017-05-26T15:56:41.000Z","dateModified":"2026-02-23T05:08:24.237Z","description":"The Cannes Film Festival always offers plenty of glamor and fun in the sun, but the dark side of the world is never far from view.","url":"https://time.com/4795742/best-of-cannes-2017/","keywords":["movies"],"thumbnailUrl":"https://static.time.com/v3/assets/bltea6093859af6183b/blte1d61e6ac5d6c1a1/6988cf3bcd1bba731070563a/loveless-film.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","author":[{"@type":"Person","name":"Stephanie Zacharek","jobTitle":"Film Critic","url":"https://time.com/author/stephanie-zacharek/"}],"articleSection":"Entertainment","image":[{"@type":"ImageObject","url":"https://static.time.com/v3/assets/bltea6093859af6183b/blte1d61e6ac5d6c1a1/6988cf3bcd1bba731070563a/loveless-film.jpg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","width":1200,"height":675,"headline":"loveless-film","caption":"Matvey Novikov stars in Andrey Zvyagintsev's new film Loveless.","creditText":"Arte France Cinéma","representativeOfPage":true}],"publisher":{"@type":"Organization","name":"Time","url":"https://time.com/","logo":{"@type":"ImageObject","url":"https://time.com/images/logo.png","width":528,"height":156},"foundingDate":"March 3, 1923","sameAs":["https://www.facebook.com/time","https://www.instagram.com/time/?hl=en","https://twitter.com/time","https://www.pinterest.com/timemagazine"]}},{"@context":"https://schema.org","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"/section/entertainment/","name":"Entertainment"}},{"@type":"ListItem","position":2,"item":{"@id":"/tag/movies/","name":"movies"}},{"@type":"ListItem","position":3,"item":{"@id":"https://time.com/4795742/best-of-cannes-2017/","name":"A More Fraught Cannes, Inside the Screening Rooms and Out"}}]}] ```