continues to appear to be wilfully deaf to the topic of cancel culture, Maïwenn’s latest feature — which opens the festival on the same day as its local release — does shed some historical light on the curious tolerance the French have for their kinsmen’s infidelities and sexual peccadilloes. are not immediate, but they become clear soon enough. Nevertheless, Maïwenn is not about to follow the American director down the post-modern rabbit hole.
The story begins in earnest when Jeanne, now Maïwenn, meets the Count du Barry , a lothario and notorious playboy, who proposes a partnership. The deal soon turns sour, as the Count insists on flaunting his affairs, but Jeanne stays with him for the sake of his son. By this stage, the Count is more pimp than lover, and his plans for Jeanne go all the way to the top: “The King! The King!” she wails.
Johnny Depp makes his largely wordless debut at about the 20-minute mark with a grand entrance that’s both impressive and unsettling, approximating the effect of putting Edward Scissorhands’ gothic lipstick and powder onto the bloated, weary face of ’s Captain Kurtz. Will this be a Brando-esque cameo? Surprisingly not; Louis XV is here for the duration. The accuracy of his accent is for Francophones to debate, and his role is suspiciously light on dialogue.
Maïwenn’s film is full of great moments like this , and the decision to shoot key scenes in Versailles — like the Cannes Film Festival, an edifice to excess whose denizens didn’t always see which way the political wind was blowing — adds an immersive kind of authenticity.
The novelty factor of seeing Johnny Depp in his first post-trial role will definitely spur international curiosity, but there’s weighty cast here that more than supports him, notably Poupaud as the wily du Barry, Lavernhe as the likeable La Borde and the fantastically named India Hair as Adélaïde, one of the king’s unsufferable daughters.
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