Elle Fanning

There were big trends in Cannes. Hair close to the skull with controlled cascades down the back; braids and adornments were noticeable, too.

When Quentin Tarantino comes to Cannes everyone steps up their game. Fashion had a fabulous night when A-listers walked the carpet at the premiere of Once Upon A Time in Hollywood.

Women wore flounces and chiffon. Trends: detailed construction to create soft shapes, while hair, for the most part.

Cannes began gently with Elle Fanning dressed as a designer gauzy schoolmarm – while controlled tailoring and feminine details dominated.

The Handmaids Tale star Max Minghella’s directorial debut Teen Spirit follows the transformative journey of Violet, a Polish teen immigrant who rises at a British singing competition. The terrific Elle Fanning not only sings in the film but also dances and handles dialogues in both British and Polish accents.

Elle Fanning, Dakota’s younger sister, has stepped out from the shadow of her sibling, who is a powerhouse talent herself and grew up in the public eye. Elle, with less initial exposure, embraced the spotlight and showed an early edge that fashion houses fawned over to dress.

The Beguiled, which premiered in Cannes last month earned Golden Globe-winning director Sofia Coppola (Lost in Translation, 2004) a Best Director award on the Croisette. That was only the second time the accolade had gone to a woman in the festivals’ 70-year history (the first, in case you’re wondering, was Jane Campion).

“Strange” (sounds better in French: bizarre) is the first label that comes to mind after watching How to Talk to Girls at Parties, from John Cameron Mitchell, which is an official selection (out of competition) of the 2017 Cannes Film Fest. This romantic tale, which tries to mix the subcultures of punk and aliens in a sci-fi milieu, was one of the toughest press screening to get into (It took place at a small venue, Salle Bazin).

From the shocking opening shot of a blood soaked model, languidly supine on a luxurious sofa, it’s clear that Nicolas Winding Refn’s Neon Demon is not your run-of-the-mill summer thriller. Since he established his reputation with the Golden Globe-nominated Drive (Albert Brooks for Best Supporting Performance), the Danish director has embraced his inner provocateur.

Any self respecting A-list festival needs a film that rocks the boat and ruffles some feathers. Controversy can be like fuel to a Cannes festival, sparking debates that bubble late into the post-screening dinner conversations at the sidewalk cafés.