931-935

*Chapter 931: Generally Subdued*

The annual Cannes Film Festival is nearing its end, with only the closing ceremony and awards presentation left. However, it's precisely this period before the awards are announced that is the most nerve-wracking and lively—

Everyone is defending their personal favorite for the Palme d'Or.

Literally, everyone.

As the saying goes, "There's no first place in literature, no second in martial arts." Artistic works are often difficult to judge for a champion, but everyone has their own preferences and hopes their favorite can win the Palme d'Or.

Undoubtedly, it's a moment of glory.

The jury's decision hasn't been revealed yet, and all of Cannes is buzzing with speculation; however, the official magazine ratings have been announced, sparking a heated debate.

This year, the Cannes Film Festival's main competition featured the global premiere of twenty films, each evaluated by ten professional critics from the official magazine.

"Dogville," ranked first in the magazine, scored an average of 3.1 out of a possible 4 points.

Despite the controversy and provocation, Lars von Trier once again ignited a heated debate with his work, making "Dogville" a strong contender for the Palme d'Or.

Who knows? Perhaps after three years, Lars von Trier might win the Palme d'Or again.

"Distant," a film by director Nuri Bilge Ceylan, scored 3.0 in the official magazine, also receiving high praise and applause from critics.

These two films are the only ones in this year's Cannes Film Festival to score over three points.

Frankly, it's disappointing—

At least from the perspective of the official magazine.

Of course, Cannes primarily focuses on artistic works, which are often controversial and difficult to judge. Therefore, the official magazine tends to be more stringent, and scoring above three is not easy.

However!

Even so, in previous years, there would have been at least three or four, if not more, films scoring above three. This year, there are only two, and they just barely made it, indicating that the main competition at this year's festival has been generally lackluster and unsatisfactory.

Not only the official magazine but also the media attending Cannes share this sentiment—

Overall, the reviews have fallen below expectations.

As a result, the explosive discussions sparked by "Dogville" and "Elephant" have stolen the spotlight, becoming the focus everyone at Cannes can't miss.

Similarly, the official magazine's score of two points doesn't seem that bad in this context. Picking the best among the average isn't the worst outcome.

Here are the official magazine ratings from highest to lowest:

"Mystic River," 2.9.

"The Barbarian Invasions," 2.7.

"At Five in the Afternoon," 2.5.

"Swimming Pool," 2.4.

"Elephant," 2.1.

Wait, is this ranking correct? "Elephant" is actually ranked seventh?

Seventh out of twenty films isn't remarkable, but it's not terrible either—it's at the forefront of the middle pack, which is far better than expected.

A few days ago, when "Elephant" received its 2.1 score, many were shocked, with netizens quickly condemning Anson and mockingly suggesting he stick to being a "flower vase" rather than attempting a transformation.

But now, "Elephant's" rating doesn't seem so bad.

Everyone was stunned—

So, is "Elephant" good or not?

Moreover, the real disappointment lies elsewhere when compared to "Elephant."

"Mystic River."

Directed by Clint Eastwood, "Mystic River" has been highly anticipated, featuring a star-studded cast. Undoubtedly, it was the most awaited film at this year's Cannes.

However, the reaction to the film seems... lukewarm.

Not that it's bad.

The film received praise and a standing ovation at the Lumière Hall, and it sparked heated discussions after its premiere. But the acclaim didn't turn into a frenzy, and the discussions didn't extend further—it was just... average.

With an official magazine score of 2.9, it ranks third.

It's a solid result, but that's all—no more, no less.

When people talk about "Mystic River," the praise and approval are mostly positive. But when discussing all the films at Cannes, it's easy to forget this one even exists.

Its position is rather awkward.

It might have been better to provoke some controversy, like "Elephant."

"Controversy, after all, is still a form of recognition."

That's why "Dogville," despite its controversy, took the top spot in the official magazine ratings. It has buzz, acclaim, focus, and flair, making it the biggest winner at this year's Cannes, with the call for it to win the Palme d'Or growing stronger.

However, there's a film that swept through Cannes like a hurricane, causing an uproar that even "Dogville" and "Elephant" couldn't match, dominating the festival inside and out—

"The Brown Bunny."

Controversy isn't always recognition, as the debate surrounding "The Brown Bunny" has exceeded all expectations, turning into a full-blown disaster.

Directed and starring Vincent Gallo, "The Brown Bunny" was screened in its full 118 minutes at Cannes, uncut.

The film tells the story of a motorcycle racer, played by Vincent Gallo, who is unable to form stable relationships with others because he can't get over his ex-girlfriend.

Near the end, there's a close-up scene where the ex-girlfriend, played by Chloë Sevigny, performs a "BJ" on Vincent Gallo, followed by an explicit action.

Controversy erupted at Cannes.

First, "The Brown Bunny" itself is not a great film. It's an almost plotless minimalist work, using barren minimalism to depict a man's loneliness and pain after losing his true love. However, the film's emotional portrayal is unrestrained, with self-indulgent sentimentality, failing to achieve the minimalist effect of "thunder in silence."

Secondly, the film's bold ending scene dropped a bombshell.

The latter stole all the discussion from the former, leading critics to lash out in a tirade—

Chloë Sevigny agreed to the role herself, despite her agent's repeated objections. After agreeing to perform the explicit scene, her agent ended their collaboration.

Chloë defended herself as "dedicating herself to art" and used Andy Warhol to justify herself and the film. But clearly, her agent disagreed.

At this year's Cannes, Chloë starred in both "Dogville" and "The Brown Bunny," thrusting her into the spotlight.

After "The Brown Bunny's" premiere, the criticism was overwhelming, with Roger Ebert even losing his temper and cursing.

He not only called it "the worst film in Cannes history" but also said, "I'd rather watch my colonoscopy than this film," openly expressing his disdain.

And Roger wasn't alone.

The Cannes official magazine gave "The Brown Bunny" five ones and five zeros, averaging 0.5.

Breaking all records.

Objectively, critics felt the film was bad. However, the shocking ending quickly became the focus of all discussions, leading people to believe that the critics were hypocrites, giving low scores just because of the final scene's impact.

Even Vincent Gallo thought so, and in his anger, he exchanged insults with critics and journalists, creating quite a spectacle.

Chapter 932: A Super Flop

Indeed, infamy can still be a form of fame.

However, if controversy crosses a certain line, things may spiral out of control faster than expected.

"The Brown Bunny" is a prime example.

A 0.5 rating on the official Cannes film journal was the trigger. Even in Cannes, where art is celebrated, such a one-sided score was shocking.

This enraged Vincent Gallo, who wrote, directed, starred in, and even served as the cinematographer for the film. He couldn't tolerate his work being treated like this.

So, he began a verbal spat with the critics.

Like shooting the leading bird, he targeted Roger Ebert first.

Initially, their exchanges focused on the film and professional critiques. However, it quickly escalated into a nasty, personal feud.

Vincent struck first, calling Roger "a fat pig with the physique of a slave trader."

Roger fired back, saying, "I'm fat, but one day I might be thin. However, he will always be the director of 'The Brown Bunny.'"

In just a few days, the controversy surrounding "The Brown Bunny" had stolen the spotlight at Cannes.

Anyone with a discerning eye could tell that Vincent and Roger weren't done yet.

Amusingly, the uproar over "The Brown Bunny" was so intense that it overshadowed another terrible film on the festival's last day — "The Cluzet Family."

This film, written and directed by Bertrand Blier, received overwhelmingly negative reviews and scored a record-low 0.3 in the official Cannes film journal.

But... no one cared.

All attention was on "The Brown Bunny." People quickly forgot about "The Cluzet Family," and it's hard to say if that was a good or bad thing.

Although no official count exists to confirm whether this was the worst main competition in a decade, with the overall quality being disappointingly low, it's clear that this year's main competition sparked the most debate and discussion in recent years.

The buzz was so intense that even Lars von Trier seemed to act normal.

With all the uproar and drama, "The Brown Bunny" had seized the entire festival's focus.

But wait!

What if "The Brown Bunny" wins an award in the end?

Just imagining this sends chills down the spine. Suddenly, the idea of "Dogville" winning the Palme d'Or doesn't seem so crazy.

Because of this, the last day at Cannes was particularly noisy, with everyone having their list of potential winners.

Everyone wanted the films they supported to win.

Then—

"Rumor has it that 'The Brown Bunny' crew has been recalled."

Silence.

Cannes was stunned.

The shock was so great that people forgot to curse or even get angry, just staring at each other in disbelief.

No... could it be?

"Not only were they recalled, but they might have won a major award."

The heart tightens instantly. A major award? How big? Top three? The Jury Prize?

Wait, could it be the Palme d'Or?

Seriously, it's not impossible when you think about it, especially with Patrice Chéreau as the Jury President.

Patrice Chéreau has always been bold, challenging taboos and sensitive topics. His directorial debut, "L'Homme Blessé," was considered daring.

Two years ago, "Intimacy" won the Golden Bear at the Berlin Film Festival. The film challenged audiences by telling the story of two people with families who secretly meet every Wednesday afternoon in an apartment, not talking about love, only "sex." But it all falls apart when the man starts taking an interest in the woman's life and begins following her.

Mark Rylance, who later won an Oscar for Best Supporting Actor in "Bridge of Spies," gave a "no-holds-barred" performance in that film.

Compared to "Intimacy," "The Brown Bunny" doesn't seem as provocative.

So, as the Jury President, Patrice Chéreau defending art and recognizing "The Brown Bunny" isn't out of the question.

This—

Cannes goes collectively insane, everyone losing their minds.

What's worse is that, usually by noon, the news is everywhere because crews need to return to Cannes to prepare for the closing ceremony's red carpet. Directors and actors should start appearing, with rumors flying around, making it the liveliest part of the day.

But this year, nothing.

Silence.

The more silent it is, the more unsettling it becomes, driving the media reporters crazy.

If "The Brown Bunny" wins the Palme d'Or and "The Cluzet Family" wins the Jury Prize, it would be shocking, akin to flipping the table.

Anger. Anxiety. Despair. Numbness. Heartbreak.

Media in Cannes went through a long ordeal until something finally happened—

Le Figaro reported, based on reliable sources, that "The Brown Bunny" crew had already left Cannes without being recalled or winning any awards.

Phew!

False alarm!

Even this bit of news made the Cannes media cheer.

From the perspective of an onlooker, if "The Brown Bunny" had won, the feud between Vincent Gallo and Roger Ebert would have continued and escalated, making for a real spectacle. The media should have fanned the flames.

However, Cannes is a bit different. Here, some things are more important.

It's not "The Brown Bunny." That's good news!

Le Figaro broke the silence, creating an opening, and Cannes finally livened up, with various rumors flooding out.

The "Distant" crew has been recalled.

"The Barbarian Invasions" crew has been recalled.

"The Five O'Clock" crew has been recalled.

After a quiet, anxious morning, the crews returned to Cannes one after another, re-energizing the media.

Then, the bombshell—

"The Elephant" crew has been recalled.

Buzz, buzz, buzz.

In the midst of the commotion, this piece of news was like a small stone thrown into a pond, instantly quieting everything down.

Gus Van Sant and two ordinary students, Alex and Eric, both returned to Cannes.

So, what does this mean?

Anson, yes, ask Anson, the crew member is here. No need to wait for rumors.

But... where's Anson?

Not long ago, he was still chatting in the Film Palace. Suddenly, he disappeared. Did he go to the restroom or the coffee shop?

After a thorough search, he was nowhere to be found. Anson had vanished.

So, what does this mean?

The next second, boom!

Complete chaos.

As Anson said, if the crew is recalled, the first thing they should do is prepare for the evening's red carpet, taking it seriously.

Anson's disappearance seems to confirm this through his actions.

So, "The Elephant" was really recalled?

The official film journal gave it a 2.1 rating, but that didn't affect its prospects. It once again showed that the jury's taste is entirely independent.

This isn't the first time, nor will it be the last, that the jury ignores the official journal to make its judgment and choice.

So, what award will "The Elephant" get?

Best Director? Or the Jury Prize?

It likely won't be for the screenplay or acting since the focus of the film isn't on those aspects. Thinking it through, the Jury Prize seems most likely... right?

Chapter 933: Horror Story

Rustling and murmuring, the crowd was abuzz with discussions. The "elephant," momentarily forgotten because of the sudden emergence of the "brown rabbit," was now back in the spotlight of Cannes with the news of its recall.

In a flash, everyone seemed to forget that the "elephant" was the year's first controversy. Now, the controversy had returned.

"Director? Not likely, Gus Van Sant didn't contribute much, did he?"

"Not much contribution? Gus is the absolute protagonist of the whole film. In my opinion, Vincent Gallo tried to shoot 'The Brown Bunny' with the same effect as 'Elephant,' but the directing skills were far off, so 'The Brown Bunny' got such harsh criticism."

"No, I still think the Jury Prize is most likely, which is like third place."

"Then who are the top two?"

"Palme d'Or 'Dogville,' Grand Prix 'Distant.'"

"Come on, you're just arranging awards based on the official magazine scores; it's unreliable."

"The official magazine scores are a reference, you know?"

"Hey, do you think it's possible they'll award Anson, Alex, Eric, and all the actors collectively as Best Actor?"

This comment dropped like a bombshell.

"Wow, no way..."

"It’s possible, really, it makes sense."

"Makes sense? Get lost. This is a mockumentary. The film has many things worth praising and criticizing, but none of it has to do with the actors."

"The actors have no chance. If it weren't for Anson, we wouldn't have even noticed the actors."

"That's absurd."

In the heated discussions, someone brought up another point.

"If 'Elephant' is back, then next should be Lars von Trier, right?"

"According to your logic, 'The Brown Bunny' should be recalled too..."

"Ah, no, please!"

Laughter and exclamations filled the air. The atmosphere was lively.

But at least one point was correct—

"What about 'Dogville'?"

In the three major European film festivals, it's not uncommon for the film with the highest score in the official magazine to go home empty-handed. The official magazine and the jury are two separate entities, and the small jury system makes it even more so.

However, this year is special.

This is a weak year; the average level of the films and the overall reputation are below expectations, with two notably poor films bringing the overall level down. In this case, "Dogville," the highest scorer in the official magazine, suddenly stands out.

Whether you like it or not, no one can ignore it.

Perhaps the biggest question is whether the jury likes Lars von Trier.

After all, many journalists don't like "Dogville" either.

If "Dogville" is recalled, what award should it win?

The Palme d'Or?

No, even those who like "Dogville" don't think this film can win the Palme d'Or. The most likely award is Best Actress.

Earlier this year, Nicole Kidman won the Best Actress at the Berlin Film Festival for "The Hours"—alongside Meryl Streep and Julianne Moore. Then she won the Oscar for Best Actress for "The Hours," finally achieving her dream after struggling in Hollywood for over 15 years.

Coming to Cannes, Nicole is undoubtedly the focus, and with the controversy, focus, and buzz surrounding "Dogville," the Best Actress seems more reasonable than the unrealistic fantasy of the Palme d'Or. Besides, other films this year lack standout actresses, so it seems like the right time for Nicole to win her first Cannes award.

That's why many media outlets firmly believe "Dogville" will be recalled.

But if "Dogville" isn't recalled, things get interesting.

First, the entire award layout might be overturned.

Second, "Dogville's" controversy might erupt again. On one hand, it has the highest score in the official magazine, while on the other, it might be completely ignored by the jury. Plus, the film itself is a hot potato.

Third, if not "Dogville," who else is worth recalling?

With "Elephant" recalled, it's like a hornet's nest at Cannes. The heated discussions soar, turning the film festival into a carnival.

What's next?

Even if "Dogville" is recalled, it still doesn't fill the award list.

Previously mentioned, the three major European film festivals have seven awards. Dual winners and one film winning multiple awards have happened. But in recent years, these festivals have reminded their juries to avoid such cases.

To this end, Cannes even has a written rule that if there's a dual winner, only one award can have dual winners. Also, they should avoid one film receiving two awards.

Ultimately, it's to ensure the festival's diversity, rewarding different films while avoiding dividing the cake like the Golden Globes.

The European film festivals have always strived to promote the film industry, especially the art film industry.

But what about now?

"One, two, three, four, just four films: 'Distant,' 'The Barbarian Invasions,' 'Elephant,' and 'At Five in the Afternoon.' Even if we add 'Dogville,' that's only five. The numbers don't add up."

"As far as I know, the 'Mystic River' team is still in Cannes. They premiered on the second-to-last day, and their interviews are not over yet."

"Oh, 'Old Cowboy' Eastwood, that's a possibility. Sean Penn might compete for Best Actor, Best Director, or the top three awards. But it's still not enough."

"...Could it be 'The Cotelette Family'?"

"What?"

"'The Cotelette Family,' which premiered yesterday, is still in Cannes."

Gasp.

Everyone drew in a breath, realizing they had focused so much on "The Brown Bunny" that they forgot this year's actual lowest scorer in the Cannes official magazine.

This is terrifying, isn't it?

"No, no, no, impossible, don't say such horror stories."

"But it's a possibility. If 'Mystic River' and 'The Cotelette Family' teams are still in Cannes, it would explain why no other teams have been recalled, why there was a brief buzz at noon, and then things went quiet again."

"...No way..."

In the Grand Palais's media center, everyone was stunned, at a loss for words.

Is this the cinephile version of a horror story?

"If 'The Cotelette Family' actually wins an award, is this the worst Cannes in the last ten years?"

"Roger Ebert's spirit?"

"No, not really. In 1997, 'The Eel' and 'Taste of Cherry' shared the Palme d'Or, and even that year wasn't great. Even the quality of the Palme d'Or was subpar."

One moment, people were debating who else might be recalled; the next, they were arguing about the worst Palme d'Or in the last ten years—

Truly, they are film enthusiasts.

Time passed amidst heated discussions, and the premonition of sadness never seemed to be wrong.

With the red carpet for the closing ceremony and award ceremony about to begin, even though there's still a little time left, Cannes has "quieted" down, leaving the media in shock.

That's it?

No other team was recalled?

The "Dogville" team was forgotten too? Nicole Kidman's Best Actress isn't possible anymore?

What do we do now?

*Chapter 934: Burning Stomach*

Time is passing, and it's as if the sound of an hourglass is echoing clearly.

However, there's still no news from the media waiting at Nice International Airport and Cannes train station. The silence is unsettling.

With each passing moment of nightfall, the chances of "Mystic River" and "The Cutler Family" making it into the winners' list increase, plunging Cannes into a slow silence.

They can't quite distinguish whether they're more shocked by the complete absence of "Dogville," relieved that "The Brown Bunny" wasn't called back, or stunned by the possibility that "The Cutler Family" might win an award.

There are so many things to criticize, they don't even know where to start!

Thus.

One by one, they become deeply enveloped in an atmosphere of unease.

They thought the Cannes Film Festival's main competition was bad enough this year, but who knew it could get even worse? What kind of horror story is this?

Tick-tock, tick-tock.

Time is passing slowly, and the dawn of hope sinks along with the setting sun, eventually burning away in the afterglow.

The red carpet for the closing ceremony and awards ceremony unfolds slowly. Patrice Chéreau leads the jury onto the stage, and camera flashes burst forth.

Everything is settled—

No "Dogville."

The first suspense is finally revealed: the top-rated film in the official magazine is out, sinking as one of the biggest controversies of this Cannes Film Festival.

It's not the ousting of "incorrigible" Lars von Trier that shocks people the most, but the fact that Nicole Kidman missed out on the Cannes Best Actress award.

For ten days, people have been complaining nonstop, saying this year's Cannes is rotten to the core, not just the main competition but other sections as well; and now, the highest-rated film in the official magazine is eliminated from the awards. Considering the controversial nature of "Dogville," they can't even tell if this is a good thing or a bad thing.

Their minds are a mess: it's hard to judge.

And, more importantly, without "Dogville," it also means that the chances of "Mystic River" and "The Cutler Family" winning awards are skyrocketing.

Their stomachs churn with unease.

First, who would have thought that "Mystic River," which didn't generate much enthusiasm, would make such a triumphant entry, only to fall slightly below expectations, like a drop of hot oil in cold water, and in the end, make a surprising comeback into the winners' list?

Second, "The Cutler Family"… it's hard to describe… official magazine score 0.3… even lower than "The Brown Bunny"… and now it's… it's hard to even feel angry.

Let's put aside the potential news of "The Cutler Family" winning and keep a rational perspective:

Even if we include these two films, only six films have been called back, which means one of these films might win two awards.

Huh.

A gasp.

So, the key is, which film will win twice?

This is important, critically important.

"A Faraway Place" winning twice and "The Cutler Family" winning twice are two completely different things, a world apart, and might even decide how this Cannes Film Festival will go down in history. From the current perspective, it will undoubtedly go down in history, but whether it's as a glorious event or as an infamous one, no one knows.

Heart pounding—

"A Faraway Place."

"The Barbarian Invasions."

"Five O’Clock in the Afternoon."

"The Elephant."

"Mystic River."

"The Cutler Family."

Six films, seven awards; the news is finally settled. Next up is the distribution of the prizes. So, can you guess which film will win the Palme d'Or?

Buzzing.

Their minds are buzzing, like boiling water that can't be stopped.

Could it be that the Palme d'Or is really—

"The Cutler Family" crew has arrived.

Huh.

Emmanuel can clearly feel the heart-stopping gasps on the red carpet. The clicking shutters, which had just burst into a frenzy with the jury's arrival, suddenly drop in intensity, leaving a slightly awkward atmosphere.

However, director Bertrand Blier doesn't care at all.

This actor-turned-director has been in the main competition at all three major European film festivals and won the Best Foreign Language Film Oscar for "Get Out Your Handkerchiefs." He's seen all kinds of situations and isn't one to get stage fright.

Moreover, this director has always had a laid-back personality, often making comedies. This time, "The Cutler Family" scored rock-bottom in the official magazine, and he even joked about it, chatting and joking with reporters.

Here, it's the same.

As the air grows tense, Bertrand not only remains unflustered but also waves his hand and suddenly rushes toward the reporters on one side of the red carpet like a tiger descending a mountain, scaring a small circle of reporters around him.

This white-bearded, sixty-year-old director laughs heartily like an old child. Looking at the startled and bewildered reporters in front of him, he seems quite pleased with his prank.

Click.

Emmanuel instinctively presses the shutter, capturing the moment—

This, too, might become a classic: the reporters anxiously fearing "The Cutler Family" might win an award, while the director displays a relaxed composure born of experience, the contrast becoming a scene of the film festival.

Perhaps they're all too tense, even though "The Cutler Family" received a terrible review in Cannes. Who knows? Maybe when the film officially releases, audiences will respond differently.

Then.

The shutter sounds reignite, buzzing with excitement.

Who knows? If "The Cutler Family" really wins the Palme d'Or, they're recording history right now. Whether they like it or not, facts are facts; even if it's to be infamy, it can't be changed.

As Roger Ebert retorted to Vincent Gallo:

"After all, you are the director of 'The Brown Bunny.' Once the jury led by Patrice Chéreau chooses the Palme d'Or, it will be set in history."

So, instead of being shocked, it's better to record it honestly.

Even so, the stomach still burns with anticipation of the upcoming awards ceremony and its potential outcomes, unable to accept it calmly.

Click, click, click-click-click.

All the reporters transform into shutter machines, mechanically pressing the button while waiting, waiting for someone to make a grand entrance—

Not Clint Eastwood or Sean Penn, but Anson.

Tonight, how will Anson appear?

At the opening ceremony and premiere, Anson stunned the audience with two different suits, but those were planned in advance; tonight is different. Before the festival, no one knew if "The Elephant" would win an award, so it's hard to prepare an outfit for the closing ceremony red carpet in advance.

Of course, it's possible that Anson's team prepared ahead regardless of the outcome, saving the outfit for the next occasion if they didn't win.

But in any case, Anson's appearance tonight is undoubtedly the focus.

In a way, this might be the only highlight on tonight's red carpet—

After all, without Nicole Kidman, the Best Actress candidates are completely unpredictable, leaving Anson as the only point of attention.

*Chapter 935: Making an Entrance*

Rustling, rustling.

The cast members took their places one by one, leaving only two left—

“Mystery River” and “Elephant.”

Who will be the grand finale?

Whispers and hushed conversations buzzed around, spreading throughout the entrance of the Palais des Festivals. Even the red carpet seemed to pulse with anticipation.

Immanuel found it intriguing.

Initially, she thought she was the only one concerned about Anson’s outfit. After all, men's fashion is still a relatively new field with limited attention.

But now, it seems that the Cannes trip is subtly changing that. Anson is indeed showcasing a broader and more profound influence.

Imagine, if—just hypothetically—if Anson wins Best Actor tonight?

Wow.

That... that’s just... unimaginable!

Just the thought of the possibility made her heart nearly burst with excitement.

“He’s here.”

A voice came from the crowd, and everyone’s gaze turned toward the entrance of the red carpet like a tidal wave. The mix of excitement and tension made the world pause, if only for a brief moment of silence, as if all noise had vanished.

Only the sound of the waves gently lapping at the shore remained in the air.

It was—

Gus Van Sant!

The “Elephant” crew arrived on the red carpet first.

Click, click, click.

Flashbulbs lit up the entire scene, showering Gus like a waterfall.

Controversy, chaos, focus.

When the official magazine was released, no one expected to see the “Elephant” crew at the closing ceremony.

Not even Gus himself.

He rushed back to Cannes in a hurry, everything happened so fast. Busy and tense throughout, he felt like a tightly wound spring. Even now, his heart raced, still in shock, his face clearly showing his confusion:

Who am I, where am I, what am I doing?

Standing on the red carpet, Gus appeared somewhat reserved.

However, no one could deny that “Elephant” brought a wave of impact.

A raw, gritty, wild, yet powerful and fierce impact.

Even now, after enduring the bombardments of “Dogville” and “The Brown Bunny,” the discussions surrounding “Elephant” have not yet settled down.

This is the power of cinema.

Then, Alex and Eric followed one after another onto the red carpet.

Technically, this was their second time; after experiencing the movie premiere, they should be able to relax a little and adapt to the camera flashes. But reality isn’t that simple—one experience doesn’t bring a transformation.

On the contrary, the two were even more nervous and stiff.

Alex waddled like a penguin as he edged closer to Gus.

Eric teased Alex a bit, trying to show off his own posture, but ended up awkwardly moving in sync with himself, looking no better.

A soft laugh rustled through the crowd.

It was immediately apparent that the “Elephant” crew wasn’t prepared—

Evening wear seemed to be a last-minute arrangement.

Not that they looked bad, but the meticulous preparation for the premiere was missing. From the style to the color, everything seemed a bit too standard.

White shirts, black suits, black bow ties.

The design details might differ slightly, but the overall style remained the same.

In terms of brands, Gus was likely in Armani, Eric in Dior, and Alex in Burberry. Each chose a suit that suited them, but the designs and styles appeared conventional.

In a rush, avoiding mistakes became the priority.

Details often reveal the truth; it seems the “Elephant” crew was indeed caught off guard.

In a previous interview, Gus said:

Just being selected for the Cannes main competition was a surprise. He initially wanted to work with HBO to make this film to provide some warnings and reminders, but Cannes accepted the film and even gave it main competition treatment. This is an honor, and he has no other expectations.

Awards? Not at all.

Now it seems Gus was being honest.

So, what about Anson?

The second car pulled up.

Swish, swish, swish.

All cameras swiftly adjusted. Immanuel’s camera lens aimed and focused. The moment the car door opened, her finger pressed the shutter.

Click, click, click.

The shutter sounds escalated a notch, and the surging heat at the entrance of the Palais des Festivals came crashing down, the world blurring into a sea of silver.

As Anson stood still, the energy unexpectedly surged, rendering all other sounds silent.

Boom! Buzz, buzz, buzz...

A thunderous roar.

In the vast expanse of the silver curtain, Anson’s silhouette faintly emerged, the gaze tracing from the ground up.

Black shoes, black trousers, unremarkable.

The only praise-worthy aspect was his physique; his legs seemed to stretch endlessly, always astonishing.

A blue suit, white shirt, nothing special.

At first glance, nothing stood out, leaving a slight sense of disappointment.

It wasn’t that the reporters were picky, but Anson had already set a higher standard. The outfits at the opening ceremony and the premiere were not only stunning but also bold and sharp, causing a sensation on the red carpet, still memorable to this day.

In comparison, the difference was clear—

Was there anything different between Anson and Gus and the others?

Wait, there was something different.

The most direct and obvious difference was Anson’s suit jacket, unlike the others. It was a single-breasted navy blue jacket.

However, what stood out was that Anson had unbelievably rolled up the sleeves of his jacket.

What... kind of rebellious hobo style is this?

No one—mind you, no! one!—rolls up the sleeves of their suit jacket. For those of noble status, even rolling up the sleeves of a shirt is considered untidy and lazy, let alone a suit?

But Anson did just that.

Neatly and tidily, he rolled up the sleeves as if he were a good student. Even in rebellion, he did so in a disciplined manner.

Then, he revealed the light blue lining inside the suit.

So the suit transformed into three-quarter sleeves. One would think this would look cheap and rough, but it didn’t. Instead, it appeared youthful and vibrant.

Details are key.

From black to navy blue to light blue, finally transitioning to the white of the shirt, the entire outfit seamlessly showcased a gradation and change of color.

Just like “Elephant.”

In the film, the change in the sky is the only hint in the frame. In daily life, it seems like nothing happens, but the sky has already revealed the turning point of fate.

Anson subtly presented this.

If you observe more closely, you can notice two more details.

First, Anson wasn’t wearing a bow tie but a black, narrow woven tie.

The usual tie people are accustomed to can be tucked into the waistband. But Anson’s tie only reached the fourth button on his shirt.

Narrow and short.

Second, Anson had a red string tied around his left wrist. No jewelry or diamonds, just a simple red string, yet it became the highlight of his entire outfit.

Like the touch of red that lit up Gus and the others’ black suits on the premiere red carpet.

An entire outfit that seemed ordinary and conventional was, in fact, rebellious and full of thought in every detail. Moreover, everything became unique because of Anson.

Capturing the gaze, impossible to look away.