![]() ![]() “She came from nothing,” reveals the narrator (Stanislas Stanic). There’s also a little of Voltaire’s novel Candide in the irresistible rise of Jeanne Vaubernier (Maïwenn), the illegitimate child of a monk and a cook. RELATED: Cannes Film Festival Full Coverage In fact, for a while, the film more closely resembles a gender-swap take on Tony Richardson’s 1963 genteel sex comedy Tom Jones, based on Henry Fielding’s bawdy 18 th-century novel, although the comedy is much more subtle and, surprisingly for a film about sex, not very sexy at all. This is made obvious in the opening credits, which start with the Bonnie and Clyde-style pairing of Maïwenn and Depp, and unroll to Stephen Warbeck’s solemn, period-rich score - the aural equivalent of the life of opulence that awaits the title character. ![]() Nevertheless, Maïwenn is not about to follow the American director down the post-modern rabbit hole. Parallels with Sofia Coppola’s 2006 competition entry Marie Antoinette are not immediate, but they become clear soon enough. RELATED: Cannes Film Festival Opening Ceremony Had Douglas, Deneuve And Depp While the Cannes Film Festival 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. Jeanne du Barry also flexes the specifically French cultural views surrounding the topic of sexual impropriety. ‘Jeanne Du Barry’ Cannes Film Festival Premiere Photos: Johnny Depp, Maïwenn, Uma Thurman, Helen Mirren, Michael Douglas & More
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