Cannes 2024: Festival set to unfurl with ‘Furiosa,’ ‘Megalopolis’ and a #MeToo reckoning

Cannes Film Festival 2024: The Cannes Film Festival rarely passes without cacophony but this year’s edition may be more raucous and uneasy than any edition in recent memory

When the red carpet is rolled out from the Palais des Festivals on Tuesday, the 77th Cannes will unfurl against a backdrop of war, protest, potential strikes and quickening #MeToo upheaval in France, which for years largely resisted the movement.

Festival workers are threatening to strike. The Israel-Hamas war, acutely felt in France, home to Europe’s largest Jewish and Arab communities, is sure to spark protests. Russia’s war in Ukraine remains on the minds of many. Add in the kinds of anxieties that can be expected to percolate at Cannes — the ever-uncertain future of cinema, the rise of artificial intelligence — and this year's festival shouldn't lack for drama.

Being prepared for anything has long been a useful attitude in Cannes. Befitting such tumultuous times, the film lineup is full of intrigue, curiosity and question marks.

The Iranian director Mohammad Rasoulof, just days before his latest film, “The Seed of the Sacred Fig,” is to debut in competition in Cannes, was sentenced to eight years in prison by the Islamic Revolutionary Court. The film remains on Cannes’ schedule.

Arguably the most feverishly awaited entry is Francis Ford Coppola’s self-financed opus “Megalopolis.” Coppola, is himself no stranger to high-drama at Cannes. An unfinished cut of “Apocalypse Now” won him (in a tie) his second Palme d’Or more than four decades ago.

Even the upcoming U.S. presidential election won’t be far off. Premiering in competition is Ali Abbasi’s “The Apprentice,” starring Sebastian Stan as a young Donald Trump. There will also be new films from Kevin Costner, Paolo Sorrentino, Sean Baker, Yorgos Lanthimos and Andrea Arnold. And for a potentially powder keg Cannes there’s also the firebomb of “Furiosa: A Mad Max Saga.” The film, a rolling apocalyptic dystopia, returns director George Miller to the festival he first became hooked on as a juror.

“I got addicted it to simply because it’s like film camp,” says Miller, who became enraptured to the global gathering of cinema at Cannes and the pristine film presentations. “It’s kind of optimal cinema, really. The moment that they said, ‘OK, we’re happy to show this film here,’ I jumped at it.”