American actress Michelle Williams leaves after the screening of the film “Mother and Son (A Little Brother)” during the 75th edition of the Cannes Film Festival in Cannes, southern France, on May 27, 2022. – AFP pic
Saturday May 28, 2022 12:11 MYT
CANNES, May 28 — Michelle Williams cuts back on the glamor to make herself almost unrecognizable in her new collaboration with one of America’s hottest independent directors, Kelly Reichardt, which premiered in competition at Cannes on Friday.
To show upthe fourth time Williams has teamed up with Reichardt, tells the story of a struggling sculptor who prepares for what she hopes will be a life-changing exhibition.
Often referred to as one of Hollywood’s best-dressed actresses, Williams disappears behind cat lady outfits and a resentful frown to portray a creative woman who believes her life, friends and family owe her. more than she receives.
“I always try to make her less attractive than she is,” Reichardt told AFP at the world’s biggest film festival.
The 58-year-old director, who admitted she was “having a time” in international cinema, said Williams was always up for embarking on low-paying, creatively unleashing projects with her.
“I mean she’s ready — she’s showing up,” Reichardt said in a nod to the film’s title.
“She always wants to do something different than what we’ve done before – I feel like Michelle really transformed herself in this movie and it’s so much fun for me to watch it.” Williams, 41, four-time Oscar nominee for films including Brokeback Mountain and My week with Marilynfirst starred for Reichardt in the 2008 slow-burn feature “Wendy and Lucy,” which received rave reviews in Cannes sidebar section Un Certain Regard.
They also worked together on the period piece Meek Cut and Some womena drama set in rural Montana.
“The Foot in the Door” Reichardt landed on many top movies 2020 lists with first cowa critique of primitive capitalism masked as a flippant frontier tale.
Williams, who is heavily pregnant with her third child, joined Reichardt on the Cannes red carpet in a black and white spaghetti strap maternity dress.
“She’s definitely in her element,” Reichardt said. “I still think she’s great, but she’s great about herself right now.” Reichardt said she wanted to show the difficulties of leading a creative life in the United States with very little public funding.
“Most people who do art don’t make a lot of money,” she says.
“It’s interesting to talk to people here in France to find out if the arthouses are surviving or not. Here, it’s not really a problem. But because they’re not supported in America, they’re closing. Reichardt is one of only five women to compete for the Palme d’Or, with 21 films in competition. Asked about the long-standing fight for gender equality in film, she admitted to mixed feelings.
“It’s hard to talk about it because I have a moment of being celebrated here in Cannes. I’ve been very lucky to have done a lot of movies over the past two decades and even though I’ve struggled to get here, it’s a little unpleasant for me to complain at this point,” said she declared.
“But at the same time, just because I managed to get your foot in the door doesn’t mean everything has changed and the problems are gone.” Reichardt, who still teaches filmmaking alongside directing his own films, said the gender balance among his students gives him hope.
“When I started it was a girl and 16 boys – now half are women. Something is definitely changing. — AFP