Lyna Khoudri hits star-studded red carpet at Cannes
A year after it was first to premiere at the Cannes Film Festival, Wes Anderson’s “The French Dispatch” finally rolled into the French Riviera festival on Monday.
French-Algerian actress Lyna Khoudri, who starred in the film, joined the cast on the red carpet ahead of the premiere. The 28-year-old showed off a demure look by Chanel, complete with a semi-sheer cream colored lace shirt tucked into a black skirt with tulle overlay. Khoudri amped up the look with a quirky belt.
The actress arrived with the large cast in a bus, with Anderson at the front and a grinning Bill Murray sitting shotgun. The film, Anderson’s elaborate and fanciful ode to The New Yorker news outlet, is perhaps the starriest ensemble playing at the festival this year. At the premiere with Murray and Khoudri were Tilda Swinton, Benicio Del Toro, Owen Wilson and — on his first Cannes red carpet — Timothée Chalamet.
Clad in a silvery shiny suit, Chalamet — well known for his French fluency — dashed to spectators to take selfies and sign autographs.
Khoudri plays a student activist named Juliette, who is Chalamet’s love interest in the film.
The premiere was a long time in coming. “The French Dispatch” was selected for last year’s Cannes, which ultimately was canceled due to the pandemic. The Searchlight Pictures release opted to wait; it will be released in theaters in October.
Still, COVID-19 impacted the film’s debut. One star, the French actress Léa Seydoux, last week tested positive while working on another film. She is fully vaccinated and asymptomatic but she was quarantining in Paris and unable to attend. The movie is also making a somewhat smaller splash in Cannes; it’s the only film in competition for the Palme d’Or that won’t hold a press conference here.
“The French Dispatch” is an affectionate portrait of a weekly literary magazine situated in the fictional French city of Ennuisur-Blasé. It’s an anthology film, structured like an issue of The New Yorker, with three separate features, a travel story and an obituary. Critics were mixed on the film, praising the movie’s fullhearted tribute to 20th century magazine writing and Anderson’s intricate image-making — which in “The French Dispatch” may be on a new level even for him.
The Telegraph called it his best film ever and “relentlessly wonderful.”