What Is Volume? What Is Nudity? And More Urgent Questions from Cannes

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The term “recession indicator” is being used too frequently and may not fully convey its meaning anymore, yet it’s the best phrase I can think of to describe this year’s Cannes Film Festival. Just before the festival started, there was a sudden decision to prohibit nudity and voluminous gowns on the red carpet. This could be seen as an attempt at cost-cutting (less fabric) or a response to growing global conservatism (more fabric due to no nudity). It’s unclear which is the case, but many women, including jury member Halle Berry, were forced to find new outfits at the last minute. One woman even broke down in tears in my presence.

In terms of social events, Vanity Fair missed their annual gathering for the second consecutive year. Unlike Airmail who didn’t host an alternative party to antagonize Vanity Fair as they did in previous years, and unlike being summoned to Hotel du Cap for discussions about false movies on male redemption sponsored by oil barons, I was invited to a dubious charity event where Kevin Spacey received an unauthentic award. This occasion, yet again, seemed like a premonition of impending gloom.

At Cannes, having a personal purpose is crucial to avoid getting overwhelmed by its intense atmosphere where people might push each other aside just to catch a glimpse of Tom Cruise. It’s easy to lose sight of everyday life and feel anxious in the streets, even encountering aggressive soldiers with guns for merely walking the wrong way out of the Palais. This year, with the heightened tension, it felt especially important to clarify what exactly a “nude” dress means and what defines “volume” from the French perspective, understanding that these questions may be unanswerable.

All week long, I wandered through the Palace, speaking with numerous ladies about their extravagant and bare outfits to determine if the festival had caused them any issues on the red carpet. The former issue was harder to explore since nudity is a matter of personal interpretation, despite the fact that volume usually falls under the category of science. Nudity, on the other hand, is more like poetry. I did learn that women wearing “nude” dresses were being denied entry, but I primarily spoke with ladies whose outfits were enormous, whether they were wide or tall.

During the grand opening event, Heidi Klum arrived with a lengthy train trailing behind her. However, just moments later, a man dashed past me in the Palais corridors, clutching her dress as if it were a lifeless body. I questioned him: “Is that Heidi’s dress?” To which he replied affirmatively. “Did she have to remove it?” I called out as he continued to run. “No!” was his response. “She switched it!” This incident highlights the unpredictable nature of events at Cannes.

Farhana Bodi, a popular Instagram influencer with millions of followers, donned a pink ball gown boasting an extended train that transformed into a regal headpiece reminiscent of a crown at one point. She disclosed to me that she had to make an unexpected modification, trimming the length of her train. “It was significantly longer,” she said, “but due to the new regulation, I didn’t want to discard my cape. However, I still desired to maintain the theatrics on the carpet.” Nora Emilie Nakken, Miss Universe Norway, showcased a long yellow train. “I discovered online that there is a new rule,” she mentioned. “My dress from Paris didn’t arrive on time, so I had no choice but to wear this train. It’s enormous.” A sparkle flashed in her eye. “But they didn’t enforce the rule,” she added. One woman adorned herself in an imposing blue gown that mirrored her dog’s dress, who was also present. Somehow, this dual outfit was permitted. Another donned a dress that showcased two massive golden horses positioned on each shoulder, leading me to ponder if she were making a statement – if she couldn’t have volume at the base of her body, she would have it at the top, and the festival had no way to challenge this.

At the Eddington premiere, I came across a woman named Nell. As an introduction, she declared herself as “Disaster Girl.” This was the name of the film she was working on, which she had boldly displayed on her dress. However, the festival officials made her take it off, deeming it too provocative. With tears in her eyes, she expressed her disappointment, saying, “I’m a little sad because they said the letters were not correct. They thought it was too provocative. I pleaded, ‘Please, please! Just let me have my Disaster Girl moment.’ Disaster Girl symbolizes power, bravery, and doing things boldly. But it’s alright.

During the red carpet premiere of “Die My Love”, Robert Pattinson repeatedly stumbled over Jennifer Lawrence’s train, yet she didn’t get pulled away from the carpet. This incident made me ponder that the rules being enforced were only for non-celebrities. At the “Highest 2 Lowest” premiere, there were numerous trains, and I accidentally stepped on the woman in front of me at least four times, causing me to secretly question if this rule was an exception at Cannes. Lastly, at “Splitsville”, Jason Momoa gracefully carried his girlfriend Adria Arjona’s train, and when I attempted to take a photo, a festival staff member prevented it; you’ll just have to trust me on that detail.

During the brief moments I had away from my detective duties, I attended several social gatherings. One of them was Kering’s Women in Motion party, which is dedicated to promoting aspiring female directors. This year, they celebrated their 10th anniversary by inviting Nicole Kidman to attend. She not only took part in a private discussion about her career but also delivered a speech at dinner, emphasizing the significance of collaborating with women, especially newcomers. She even touched upon her affinity for wigs and revealed that she awakens at 3 a.m. to jot down her dreams. Thierry Fremaux welcomed her by commenting that “Australians know how to party,” and he shared an amusing story about Nicole on a party bus before she playfully exclaimed, “That’s enough!

Prior to her talk, I casually moved about at the gathering, observing everyone. I spotted Patrick Schwarzenegger engaged in a serious chat with his White Lotus co-star, Charlotte Le Bon, who donned charming spectacles. Salma Hayek frequently puffed cigarettes while conversing with Julia Garner and Jeremy Strong. Charli XCX made an appearance, posing for pictures near an apparently oblivious Guillermo del Toro, who mostly sat alone but chatted cordially with anyone approaching him. There was a Paul Mescal/Daisy Edgar Jones reunion, and I witnessed Rosie Huntington-Whiteley snatch a candle from the bar to light Charli’s cigarette.

During the gathering for “Highest 2 Lowest,” I found myself spending twenty minutes at a table alongside Spike Lee, who delightfully scrolled through his Instagram with me. He provided significant resolution in our ten-year-old interaction, which transpired outside of a Beyoncé concert. At THR’s “Die My Love” party, Pedro Pascal and Joaquin Phoenix engaged in conversation while Lakeith Stanfield strolled around confidently, wearing a baseball hat, holding his wife’s hand. Jennifer Lawrence, having swapped her original dress for one with a different volume, primarily socialized in the VIP section; Sissy Spacek brought the party to an end. At a more intimate gathering for “Eleanor the Great,” I shared a space with June Squibb as we both enjoyed sliders and watched a man move about the event, playing the flute quite enthusiastically.

At an unusual time of night, I unexpectedly encountered Alana Haim on the sidewalk amidst a crowd, enjoying an ice cream and expressing delight about something, dressed in an attire that was simple yet elegant. A couple of days after this encounter, at the premiere of Kelly Reichardt’s ‘Mastermind’, Alana wore a dress with ample volume, though it didn’t have a train. However, trains seemed to be everywhere following her. Elle Fanning and Gillian Anderson dragged their long dresses down the red carpet, and Coco Rocha appeared to struggle with the bulk of hers. Watching them made me think that women should have the freedom to choose fashion that may limit their mobility. Later, I approached a young woman in the Palais whose train trailed behind her for at least four feet to ask if she’d faced any issues during the festival, much like Disaster Girl. She looked worried, as though she had been found out committing a serious crime. “I can’t speak,” she said. “I’m here for work.

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2025-05-24 15:54