Here’s a major festival update: James Gray’s “Paper Tiger” has officially joined the Palme d’Or competition lineup at the Cannes Film Festival.
The crime film, starring Adam Driver alongside Scarlett Johansson and Miles Teller, will have its world premiere in competition. Oh, and Neon — who else— has picked up North American distribution rights. They’re collecting Palme d’Or contenders like infinity stones.
The reason for the delay has been attributed to “contractual issues,” though details remain. I’d love to find out what exactly happened — was Netflix in talks? Regardless, the film is now set for an official Cannes debut and is expected to be one of the hot titles of the competition.
The story follows two brothers pursuing the American Dream, only to find themselves drawn into a seemingly flawless scheme that slowly collapses into violence and corruption. As the situation spirals, their family becomes targeted by the Russian “Mafiya,” testing their loyalty and bonds to the limit.
Just weeks ago, Cannes artistic director Thierry Frémaux confirmed he had already seen the film and spoke highly of it, calling it “wonderful — a very James Gray film, very indie.” He added that it recalls the director’s early work, such as “Little Odessa,” noting that Gray “has never stopped being himself.”
Gray’s return to Cannes is one of the festival’s more anticipated auteur entries. He remains especially well regarded in France and has premiered five previous films at Cannes, including “Armageddon Time,” “The Immigrant,” “Two Lovers,” “We Own the Night,” and “The Yards.” He also served on the Cannes jury in 2009.
In fact, Gray is now the American filmmaker with the most Competition entries at Cannes in the 21st century. “Paper Tiger” marks his 6th appearance, surpassing Joel Coen and Ethan Coen, who have competed 5 times. That’s how much the French love this guy.
Neon now enters Cannes with six Palme d’Or contenders, including Arthur Harari’s “The Unknown,” Cristian Mungiu’s “Fjord,” Ryusuke Hamaguchi’s “All of a Sudden,” Hirokazu Kore-eda’s “Sheep in the Box,” and Na Hong-jin’s “Hope.” The company has backed the last six Palme d’Or winners.
His reasoning is simple: Cregger sees himself first and foremost as a writer, and he has little interest in shaping stories around the predetermined “data points” that come with established IP.