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FQ editor-at-large B. Ruby Rich reports from the 77th edition of the Cannes Film Festival. Skipping the "grand old men" (Francis Ford Coppola's Megalopolis, David Cronenberg's Shrouds, and Paul Schrader's Oh, Canada) competing in the main competition, Rich concentrated instead on the festival's other sections and its renegade outlier, the Quinzaine (Directors' Fortnight). Rich describes her festival highlights, including Jacques Audiard's faux-Mexican, trans-phantasmagoric, all-singing, all-dancing confection Emilia Pérez along with a number of documentaries. [ABSTRACT FROM AUTHOR]

The article offers information on the challenges faced by film festivals, focusing on Sundance and Berlin, as they navigate financial, political, and cultural pressures. Topics include the impact of COVID-19 on festival attendance, the evolving role of festivals in a changing world, and the legacy of Sundance in championing independent films and documentaries.

The article informs about Paul B. Preciado's groundbreaking film "Orlando, My Political Biography," which challenges traditional notions of genre and gender, offering a nonbinary cinematic experience. Topic include Preciado's film, described as a "trans masterpiece," disrupts categories while reimagining the world through the lens of Virginia Woolf's Orlando, featuring a cast of trans individuals and blurring the lines between natural and artificial performance styles.

The article reviews a Telluride Film Festival celebrating its fiftieth anniversary, emphasizing its unique, director-focused approach, highlighting standout films like "Anatomie d'une chute" and "All of Us Strangers," and acknowledging the festival's commitment to diverse, challenging cinema.