Enough Pins and Lapels: How Cannes and Ukraine Provide a Model for Industry Support in Crisis (Column)

Two months after Lithuanian filmmaker Mantas Kvedaravičius was murdered by Russian troops in Mariupol, Ukraine, his widow and co-director Hanna Bilobrova was at Cannes to screen the haunting and beautiful project they made together this year.

The day before the premiere of “Mariupolis 2,” Bilobrova stood on a balcony watching the red carpet premiere for “Top Gun: Maverick” when the French air force sent its jets screaming across the skies and billowing smoke the color of the country’s flag.

Having spent months in fear of those very sounds, Bilobrova shrunk to the ground on instinct and burst into tears.“It’s a body memory,” she told me the next day, a few hours after the emotional premiere of her movie.

“Life is dangerous.

The headlines have statistics and bloody pictures.

Nobody talks about what everyday life is like there.”This year’s Cannes has been filled with contrasts between the

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