<p>The Cannes Film Festival, back to something akin to full throttle after a year's hiatus, welcomed cinema luminaries back to the French Riviera on Tuesday evening as its 74th edition kicked off with the screening of Leox Carax’s "Annette".</p>.<p>Four special guests, jury chief Spike Lee, honorary Palme d’Or recipient Jodie Foster, Spanish director Pedro Almodovar and Korea’s Bong Joon-ho declared the festival open, each in their own language.</p>.<p>Foster asked the audience in the Theatre Grand Lumiere a rhetorical question: "It's good to be up and about, isn't it? The answer was provided by Annette, a salve of sorts for wounds inflicted the world over by a rampaging pandemic.</p>.<p>Frenchman Carax's first English-language film, a flamboyant opera-rock musical starring two of the world’s most beloved stars Marion Cotillard and Adam Driver as a singer and a stand-up comedian respectively, was greeted with enthusiasm.</p>.<p>The opposing adjectives that critics showered on <em>Annette </em>– beautiful and baffling, magnificent and wild – demonstrated that Carax, despite having forayed into a genre that is new to him, has lost none of his ability to surprise, provoke and divide.</p>.<p>India has one film in the Cannes official selection this year – Rahul Jain’s sophomore documentary <em>Invisible Demons</em>, a part of the special Cinema for the Climate section. It is a deep dive into Delhi's worsening struggle with air and water pollution.</p>.<p>The parallel Director’s Fortnight, usually reserved for boundary-pushing genre films, includes Mumbai-based Payal Kapadia's <em>A Night of Knowing Nothing</em>.</p>.<p>The film is far removed textually and tonally from the three Indian entries (<em>Gangs of Wasseypur, Ugly </em>and<em> Raman Raghav 2.0,</em> all directed by Anurag Kashyap) that the Quinzaine has programmed in the past decade.</p>.<p>After a year that saw the announcement of a full complement of films but no physical screenings, the festival has a slew of Covid-19 protocols in place, including the requirement of a saliva test every 48 hours.</p>.<p>Moreover, India is on France's 'red list', necessitating a weeklong quarantine for film professionals arriving from the subcontinent.</p>.<p>Bangladeshi filmmaker Abdullah Mohammad Saad’s <em>Rehana </em>is in the Un Certain Regard sidebar. It is the first-ever Bangladeshi film in the Cannes official selection.</p>.<p>Tareque Masud’s <em>Matir Moina </em>(The Clay Bird) is the only film from Bangladesh that screened in Cannes before – in Directors’ Fortnight, 2002.</p>.<p>Rahul Jain’s first documentary feature was the critically acclaimed "Machines" (2016), an austere, unflinching look at the grimly tortuous lives of workers in a textile mill in Gujarat.</p>.<p><em>Invisible Demons</em>, a 70-minute film that examines the grave repercussions of Delhi’s rapid urban expansion and the impact of polluted air and water on the most vulnerable segments of the megacity’s population.</p>.<p>"It is high time that films about the realities of climate change are given a platform," says Jain, who grew up in Delhi and acquired an MA degree in Aesthetics and Politics from the California Institute of the Arts.</p>.<p>Jain traces the birth of "Invisible Demons" to the time he was a six-year-old boy growing up in Delhi. On his way to school, he would pass the Yamuna. “Is this a nadi (river) or a nullah, I would ask,” the filmmaker recalls. Pollution in Delhi, he says, isn't just a winter phenomenon. "In the heat wave, my brain shuts down," he says.</p>.<p><em>A Night of Knowing Nothing</em>, scripted by Kapadia with Himanshu Prajapati and lensed by Laila Aur Satt Geet cinematographer Ranabir Das, is the director's second film to travel to Cannes.</p>.<p>In 2017, the Film and Television Institute of India Pune alumna was at the world’s premier film festival with a short film "Afternoon Clouds", competing for the Cinefondation prizes.</p>.<p><em>A Night of Knowing Nothing </em>is described in the film’s synopsis as “an amorphous narrative” that pans out through letters that “a university student writes… to her estranged lover”.</p>.<p>Directors’ Fortnight entries often go on to win the Camera d’Or, Cannes’ prize for the best debut film of a director. Kapadia is one of ten first-time directors in this year’s Fortnight selection.</p>.<p>Jim Jarmusch’s <em>Stranger Than Paradise</em> (1984), Mira Nair’s<em> Salaam Bombay </em>(1988), Jafar Panahi’s <em>The White Balloon </em>(1995), Naomi Kawase’s <em>Suzaku </em>(1997), Bahman Ghobadi’s A Time for <em>Drunken Horses</em> (2000) and <em>Anthony Chen’s Ilo Ilo </em>(2013) are the among the films that won the Camera d’Or after playing in Directors’ Fortnight.</p>
<p>The Cannes Film Festival, back to something akin to full throttle after a year's hiatus, welcomed cinema luminaries back to the French Riviera on Tuesday evening as its 74th edition kicked off with the screening of Leox Carax’s "Annette".</p>.<p>Four special guests, jury chief Spike Lee, honorary Palme d’Or recipient Jodie Foster, Spanish director Pedro Almodovar and Korea’s Bong Joon-ho declared the festival open, each in their own language.</p>.<p>Foster asked the audience in the Theatre Grand Lumiere a rhetorical question: "It's good to be up and about, isn't it? The answer was provided by Annette, a salve of sorts for wounds inflicted the world over by a rampaging pandemic.</p>.<p>Frenchman Carax's first English-language film, a flamboyant opera-rock musical starring two of the world’s most beloved stars Marion Cotillard and Adam Driver as a singer and a stand-up comedian respectively, was greeted with enthusiasm.</p>.<p>The opposing adjectives that critics showered on <em>Annette </em>– beautiful and baffling, magnificent and wild – demonstrated that Carax, despite having forayed into a genre that is new to him, has lost none of his ability to surprise, provoke and divide.</p>.<p>India has one film in the Cannes official selection this year – Rahul Jain’s sophomore documentary <em>Invisible Demons</em>, a part of the special Cinema for the Climate section. It is a deep dive into Delhi's worsening struggle with air and water pollution.</p>.<p>The parallel Director’s Fortnight, usually reserved for boundary-pushing genre films, includes Mumbai-based Payal Kapadia's <em>A Night of Knowing Nothing</em>.</p>.<p>The film is far removed textually and tonally from the three Indian entries (<em>Gangs of Wasseypur, Ugly </em>and<em> Raman Raghav 2.0,</em> all directed by Anurag Kashyap) that the Quinzaine has programmed in the past decade.</p>.<p>After a year that saw the announcement of a full complement of films but no physical screenings, the festival has a slew of Covid-19 protocols in place, including the requirement of a saliva test every 48 hours.</p>.<p>Moreover, India is on France's 'red list', necessitating a weeklong quarantine for film professionals arriving from the subcontinent.</p>.<p>Bangladeshi filmmaker Abdullah Mohammad Saad’s <em>Rehana </em>is in the Un Certain Regard sidebar. It is the first-ever Bangladeshi film in the Cannes official selection.</p>.<p>Tareque Masud’s <em>Matir Moina </em>(The Clay Bird) is the only film from Bangladesh that screened in Cannes before – in Directors’ Fortnight, 2002.</p>.<p>Rahul Jain’s first documentary feature was the critically acclaimed "Machines" (2016), an austere, unflinching look at the grimly tortuous lives of workers in a textile mill in Gujarat.</p>.<p><em>Invisible Demons</em>, a 70-minute film that examines the grave repercussions of Delhi’s rapid urban expansion and the impact of polluted air and water on the most vulnerable segments of the megacity’s population.</p>.<p>"It is high time that films about the realities of climate change are given a platform," says Jain, who grew up in Delhi and acquired an MA degree in Aesthetics and Politics from the California Institute of the Arts.</p>.<p>Jain traces the birth of "Invisible Demons" to the time he was a six-year-old boy growing up in Delhi. On his way to school, he would pass the Yamuna. “Is this a nadi (river) or a nullah, I would ask,” the filmmaker recalls. Pollution in Delhi, he says, isn't just a winter phenomenon. "In the heat wave, my brain shuts down," he says.</p>.<p><em>A Night of Knowing Nothing</em>, scripted by Kapadia with Himanshu Prajapati and lensed by Laila Aur Satt Geet cinematographer Ranabir Das, is the director's second film to travel to Cannes.</p>.<p>In 2017, the Film and Television Institute of India Pune alumna was at the world’s premier film festival with a short film "Afternoon Clouds", competing for the Cinefondation prizes.</p>.<p><em>A Night of Knowing Nothing </em>is described in the film’s synopsis as “an amorphous narrative” that pans out through letters that “a university student writes… to her estranged lover”.</p>.<p>Directors’ Fortnight entries often go on to win the Camera d’Or, Cannes’ prize for the best debut film of a director. Kapadia is one of ten first-time directors in this year’s Fortnight selection.</p>.<p>Jim Jarmusch’s <em>Stranger Than Paradise</em> (1984), Mira Nair’s<em> Salaam Bombay </em>(1988), Jafar Panahi’s <em>The White Balloon </em>(1995), Naomi Kawase’s <em>Suzaku </em>(1997), Bahman Ghobadi’s A Time for <em>Drunken Horses</em> (2000) and <em>Anthony Chen’s Ilo Ilo </em>(2013) are the among the films that won the Camera d’Or after playing in Directors’ Fortnight.</p>