Adèle Exarchopoulos on the cover, Cannes in theaters: discover the new issue of Première

Thirteen years after the Palme for La Vie d’Adèle, Adèle Exarchopoulos is back on the steps in Garance, the new film by Jeanne Herry. She is on the cover of our special Cannes issue, on newsstands on May 13 — a 100% Croisette issue, with a 30-page file devoted to the festival films that you will actually see in theaters this month.

Adèle, twelve years later

She was 19 years old, and suddenly, she found herself with a Palme d’Or, and the entire Croisette at her feet. She is 32 today, and she is one of the very rare French actresses of her generation to have transformed a Cannes revelation into an unstoppable career, moving from arthouse films to the general public without ever betraying herself.

Madderproduced by the inspired duo Alain Attal and Hugo Sélignac, it is therefore his return to the steps, twelve years after the Kéchiche event. It is also his new film with Jeanne Herry (after I will always see your faces), which films something in her that we had not yet seen. We met her at length. And she opens up as she rarely does: about the role, about the job, about what is projected onto her, and about this strange relationship she has with Cannes – the place that made her, the place that could have unmade her.

“I dream of one day being on the jury. Cannes, there is the masquerade side, where people will ask me questions like: ‘What are these wands, what is difficult with your dresses?’ But the soul of Cannes is the films that emerge there, like Black Dog, One day with my fatherwhich I loved, or I’m Glad You’re Dead NowPalme d’Or for short film last year, which made me shift. I want to be on the jury to see it more closely, to defend films. I think it’s the consequence of my complex of never having been a representative of my class.”

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In mirror, Jeanne Herry looks back on the genesis of the film, and on what happened on the set between the filmmaker and her actress.

“I was marked by my meeting with Adèle (Exarchopoulos) on I will always see your faces. His character was, in my eyes, one of the most important in the film and it immediately worked between us. So I immediately thought of her for Madder. But I hesitated to offer him the role. Because even if it meant changing, I wanted to change everything. And because I was afraid that Garance’s love journey would be too reminiscent of that of The Life of Adèle.”

Cannes indoors: the festival that survives the glitter

And like every year, the issue covers Cannes news, with a special bias: not a complete overview of the official selection, not a name-dropping of Croisette. But a real selection. The Cannes films that are really coming to your theaters in the coming weeks. Thirty pages, and a promise: what will remain after the party.

In summary therefore: the portrait of Barbara Lennie for Autofiction – Almodovar’s new film. Rodrigo Sorogoyen in interview for The loved one. Pierre Salvadori, who opens the festival with The Electric Venusdelivers a four-page masterclass to students at the EICAR school with a mantra that sums up his cinema better than any synopsis: “Suffering is not depth.” Asghar Farhadi looks back on his Side stories and Agnès Jaoui opens up in the big interview. And our double midnight session: the queer madness of Jim Queen and the Korean zombies of Yeon Sang-ho in Colony.

And also…

Aside from the issue, the issue welcomes Andrew Stanton who sweeps the entire history of the Toy Story saga on the occasion of Toy Story 5we also pay tribute to Nathalie Baye, and we open an investigation into the representations of slavery in French fiction.

Find the special Cannes issue of First on newsstands and on our online store.