Cannes film festival
Yorgos Lanthimos reinforces how the universe keeps on doing the same awful things with a multistranded yarn starring Emma Stone, Willem Dafoe and Jesse Plemons

Perhaps it’s just the one kind of unkindness: the same recurring kind of selfishness, delusion and despair. Yorgos Lanthimos’s unnerving and amusing new film arrives in Cannes less than a year after the release of his Oscar-winning Alasdair Gray adaptation Poor Things . It is a macabre, absurdist triptych: three stories or three narrative variations on a theme, set in and around modern-day New Orleans.

An office worker finally revolts against the intimate tyranny exerted over him by his overbearing boss. A police officer is disturbed when his marine-biologist wife returns home after months of being stranded on a desert island, and suspects she has been replaced by a double. Two cult members search for a young woman believed to have the power to raise the dead.

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Cannes film festival
A drama of despair plays out in a remote village, as a debt-ridden father is mortified to discover his son is gay

Here is a self-laceratingly painful tale of repression and denial in a remote Romanian village in the Danube delta, directed by Emanuel Parvu. It’s in the gimlet-eyed observational and satirical style of the new Romanian cinema, a kind of movie-making that in extended dialogue scenes seeks out the bland bureaucratic language of the police and church authorities; their evasive mannerisms, their reactionary worldviews and lifelong habits of indicating opinions in quiet voices and in code, things they don’t want to be held responsible for, and for things they want to keep enclosed in silence.

The drama concerns a careworn guy, Dragoi (Bogdan Dumitrache), who owes money to a local tough guy and is badly behind with the debt. Then he discovers that his 17-year-old son Adi (Ciprian Chiujdea), the apple of his eye – whom he is planning to send to military school next year, and whom he fondly imagines to be dating a local girl – has been badly beaten up by the money-lender’s sons. With icy rage, Dragoi takes this to be the man’s unforgivably violent way of demanding his money.

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From Jane Fonda’s animal print coat paired with silver ballet flats, to Jasmin Jobson’s silver bandeau and Chris Hemsworth’s old Hollywood jacket, there was a lot to enjoy on the Croisette this week

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In this week’s newsletter: Even if Francis Ford Coppola’s long-awaited passion project is the turkey some critics say it is, the French film festival remains the most exciting date in cinema

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The Cannes film festival is raging away on the Riviera, and, for me, the fomo is strong. I went to Cannes a handful of times in what now seems like ancient pre-Covid history, and always had a blast. Admittedly, much of its appeal comes from the slightly elitist thrill of getting to see a hotly anticipated film – Once Upon a Time in Hollywood or Parasite – long before the rest of the world.

But it’s all the weird ephemera around those premieres that I really miss: the gaudy super yachts parked alongside the Palais des Festivals with man from Del Monte-attired businessmen doing deals on the front deck; the giant billboards that would usually be advertising McDonald’s or H&M instead trumpeting the latest arthouse effort from Jacques Audiard; and, of course, the Marché du Film, the festival’s evil twin, locked away in the basement of the Palais, where distributors try to drum up interest in the likes of Killer Sofa , Tsunambee or Santa Stole Our Dog .

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Firm run by the ‘Ticket Queen’ sold tickets worth more than £6.5m on sites including Viagogo and StubHub

Ticket touts who conspired to “fleece” fans of artists including Ed Sheeran, Liam Gallagher and Lady Gaga were jailed on Friday for operating a “fraudulent trading” scheme worth more than £6.5m.

Judge Simon Batiste sentenced four touts, who fraudulently bought and sold hundreds of tickets through a business called TQ Tickets, to up to four years in prison.

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Speaking at Cannes, the director says Megalopolis, his reworking of ancient Rome’s Catiline conspiracy, has become ever more prescient

Megalopolis review – Coppola’s passion project is megabloated and megaboring

The US, whose founders tried to emulate the laws and governmental structures of the Roman republic, is headed for a similarly self-inflicted collapse, director Francis Ford Coppola has said at the premiere of his first film in more than a decade.

“What’s happening in America, in our republic, in our democracy, is exactly how Rome lost their republic thousands of years ago,” Coppola told a press conference at the Cannes film festival on Friday. “Our politics has taken us to the point where we might lose our republic.”

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The Chinese American author of The Book of Goose pays tribute to the late writer, reflecting on the rich rewards of revisiting her stories over many years

• A life in quotes: Alice Munro
• Five of the best Alice Munro short stories

Two days after Alice Munro died, I went to an event in New York, and found myself among strangers. A woman asked me if I’d heard that the great “Janet Munro” had died. Janet? The confusion was cleared up, and a man told me about Munro’s life story, with a detailed description of the photo used for her obituary in the New York Times. Another woman told me that, unlike most writers, Munro did not write novels, only stories. “Isn’t that interesting?” Next came the inevitable question, which people often ask of someone who writes novels and stories: “Which is easier for you?”

Easy? That’s an adjective that I’ve never associated with literature.

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Big-name ballet dancers and rising choreographers have found a new home in the superclub where the after-party goes on until 5am

“It’s the easiest rider we’ve ever done,” says the Ministry of Sound’s Mahit Anam. “Normally it’s five bottles of Patrón, four bottles of vodka … ” And this time? Water, bananas and protein bars. It’s not your usual green room at the south London superclub, because this is not your usual show: the dancefloor is about to be taken over by professionals. Ballet Nights – a monthly production usually held in a Canary Wharf theatre and featuring the country’s top ballet stars and rising choreographers – is moving into clubland. So now amid the speaker stacks and DJ decks you’ll see Royal Ballet dancer Joshua Junker and work from Olivier award-winning choreographer James Cousins. It’s a whole different kind of podium dancing.

“Everything’s got too formulaic, too samey, and that’s why we want to do this stuff,” says Anam. “Pushing boundaries is something we should always be doing.” Ballet Nights was hatched by former Scottish Ballet soloist and choreographer Jamiel Devernay-Laurence in 2023. The idea was to give audiences an up-close view of big-name ballet dancers like Steven McRae and Matthew Ball as well as nurturing a stable of young artists. But he was itching to expand, and eager to attract younger audiences, people who are the same age as the dancers who perform. Devernay-Laurence had met with all sorts of venues – theatres, concert halls – and it was always a “let’s talk again in the future” situation. But when he walked into Ministry of Sound: “They had open arms, they were so excited. We walked out the same day with an agreement and a date.”

Ballet Nights is at Ministry of Sound, London , on 31 May

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History project tells stories about the lives of women who ran B&Bs in Morecambe

It is true that a postwar northern seaside landlady could be direct, insist on full-board guests being back for tea at 5pm or get nothing, and have no plug sockets in case someone had the wild idea of using a hairdryer.

But were they the unflinching, arms-folded battleaxes often depicted in popular culture? “They generally weren’t,” said the local historian David Evans. “They were firm with their rules but they were fair, they were kind and the important thing for them was that someone enjoyed their holiday and would come back again.”

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