First of all, YES. I know how deeply lucky I am to have had another beautiful gown made for me to wear on the Red Carpet in Cannes. I am such a fan of fashion, love being the canvas, and know that these experiences are treasures!
For this year's Cannes Film Festival, I knew much earlier than last year that I would be on the Red Carpet! Hosted by Hewlett Packard, I was asked to speak on the panel "Cutting Edge Collaborators: Women Achieving in Film." Our day would finish with the entire panel walking the Red Carpet together. PERFECT! I reached out to Veronica Sheaffer, having appreciated her work on instagram, pitched the opportunity and we immediately hit it off!
Over the next three weeks and four fittings this stunning gown came together!
Aside from the stunning and dramatic effect the dress gives, it was so completely comfortable and made me feel regal, distinguished, and most importantly matched the accomplishment I was feeling. Starring and producing in a feature film, The Other One, then seeing it through a year of festivals, and into distribution, was no easy task. Excitement and stress come in equal doses during that process, so to then to be highlighted as a "Woman Achieving in Film," at Cannes, was just AWESOME!!!
One of the things I love about Veronica is that she is all in. After knowing what fabric we would be working with, and the feeling of the gown, she began e-mailing me links to shoes and jewelry. More than a gown designer, she is a stylist! Her vision is all encompassing. Check out all of the options in this video shot by Chris Rejano of the final fitting the day before we flew to France!
The shoes, that couldn't have been more perfect, were by Adrianna Papelle. Can you see that sparkle on the inside of the stiletto? LOVE!
While you can't beat a custom gown, Rent the Runway is my go-to for other fun, fancy occasions. In Chicago they now have a store (YES!) and they treated me to amazing jewelry to complete the look. Working with Veronica at the final fitting we decided on the DANNIJO Avril Earrings and the aptly named Jones Bracelets from Chamak by Priya Kakkar.
And a note about Flatgate, (not the football debacle, but the female producers being ushed off the red carpet for wearing flats,) this year, my mother joined me in Cannes and she rocked some silver Sam and Libby's Flats with no problem. We had a great time, incase you can't tell from the picture.
Now... it is called the Cannes Film Festival, so what film did we see and what did I think about it?
We saw Valerie Donzelli's fourth feature, Marguerite and Julian, a tragic, incestuous Romeo and Juliet. The reviews were mixed and interestingly when I spoke to women about it, they understood the modern touches inserted into the film as hinting towards this story being a timeless one, but the men I spoke with were mostly confused by the helicopters, electricity, and modern cars in a story taking place in the 17th century and didn't like the film.
Personally, I thought there were many commendable moments. The children's performances were so touching and beautiful. I liked the scenes being started in tableaus, not freezing the footage, but freezing the actors, and the sense of play with which she directed the brother and sister lovers was spot on.
The music, however, was too american for me and when Marguerite is captured, Valerie chose to "celebrify" the moment by showing it in paparazzi style, still photography. This felt off. It's the only time she choses to do this in the film and it feels pushed and insincere. It took me out of the story immediately and removed the actors from their performances for me. Aside from that it was beautifully made and a nice story to explore. Worthy of Cannes? Absolutely. Groundbreaking? No, but I think Valerie Donzelli has it in her and I'll be curious to see what is in her future. #SEEHERNOW
There was a lot energy around female filmmakers this year, but there were only two female directors in competition. Directors of films certainly have the least representation, but the numbers across the board for female filmmakers isn't great, particularly in the upper echelon of filmmaking.
I'd like to see more women working with bigger budgets and will continue to be an advocate for women in film. It's what I am, so why wouldn't I? Also the best idea I've heard for creating real change is quotas. People, and I think, Americans in particular, don't like to be told they have to do one thing or another, but when a history of injustice needs to be corrected, we MUST do things that, at the time ,feel uncomfortable or even unfair.
Maybe you saw the film Selma? Blacks had the right to vote, but it didn't mean it was going to happen. Affirmative action was also an uncomfortable thing for many people, and at times, yes, it was unfair, but the culture wasn't going to change without demonstrative action. This is the place we are at with female filmmakers. If you haven't yet, please sign the ACLU petition for investigation into discriminatory hiring practices in Hollywood. I'm on it.