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Screen investigates which films from around the world could launch on the Croisette, including on opening night.

With just over a month to go before the line-up for this year’s Cannes Film Festival is unveiled in Paris, Croisette predictions and wish lists are hitting the web thick and fast.

Screen’s network of correspondents and contributors around the world have been putting out feelers to get a sense of what might or might not make it to the Palais du Cinéma or one of the parallel sections.

Just like the Oscars, this year’s festival is likely to unfold amid a politically-charged atmosphere. Beyond Trump and the rise of populism across the globe, France will be digesting the result of its own presidential election on May 7. Against this background, the festival will be feting its 70th edition.

Below, Screen reveals which titles might - and might not - be in the running for a place at the...

Rushes collects news, articles, images, videos and more for a weekly roundup of essential items from the world of film.NEWSThe big news in Hollywood is that "the Academy of Motion Picture Arts & Sciences has approved a series of major changes, in terms of voting and recruitment, also adding three new seats to the 51-person board — all part of a goal to double the number of women and diverse members of the Academy by 2020. The changes were approved by the board Thursday night in an emergency meeting," Variety reports. A major step, certainly, but we've still to see what the results will be. And certainly Academy membership does little to alter what kinds of movies get produced and by whom.Charles Silver, the head of the Museum of Modern Art's Film Study Center, passed away last week. IndieWire is running an homage by Laurence Kardish, a former MoMA film curator:"Perhaps,...

Marc Allégret: From André Gide lover to Simone Simon mentor (photo: Marc Allégret) (See previous post: "Simone Simon Remembered: Sex Kitten and Femme Fatale.") Simone Simon became a film star following the international critical and financial success of the 1934 romantic drama Lac aux Dames, directed by her self-appointed mentor – and alleged lover – Marc Allégret.[1] The son of an evangelical missionary, Marc Allégret (born on December 22, 1900, in Basel, Switzerland) was to have become a lawyer. At age 16, his life took a different path as a result of his romantic involvement – and elopement to London – with his mentor and later "adoptive uncle" André Gide (1947 Nobel Prize winner in Literature), more than 30 years his senior and married to Madeleine Rondeaux for more than two decades. In various forms – including a threesome with painter Théo Van Rysselberghe's daughter Elisabeth – the Allégret-Gide relationship remained steady until the late '20s and their trip to...

Farley Granger "didn't fear the homoerotic subtext of either of the films he did for Hitchcock," writes Farran Nehme in the run-up to the For the Love of Film III Blogathon. "Mind you, in his autobiography Granger says he spent years disappointing critics and interviewers when asked about discussions with Hitchcock about just what was going on between Rope's two main characters: 'What discussions? It was 1948.' That didn't mean, though, that Granger himself and co-star John Dall were clueless." And as for Strangers on a Train (1951): "Given a role of ambiguous morality, he increases the questions about the character, rather than trying to emphasize the good-Guy qualities."

Charles Lyons for Filmmaker on Annette Insdorf's Philip Kaufman: "The first book-length assessment of Kaufman's oeuvre, which will reach 14 films when Hemingway and Gellhorn premieres on HBO in May [it also screens Out of Competition at Cannes], Philip Kaufman is a shrewd and very readable study.

Jacques Audiard's new prison thriller is the most stylish film to come out of Europe for years, following up on the promise of his previous movies Read My Lips and The Beat that My Heart Skipped and confirming his place among the greats of French cinema. Jason Solomons talks to a director who wants his audience to fly with him

Jacques Audiard wears a hat. It's a trilby that, the 57-year-old director says, keeps him warm in the winter and cool in the summer. He was wearing it in the heat of Cannes last May when I first met him, on a blazing roof terrace; and he's wearing it again today, in London, on an autumnal Monday when I catch him smoking his pipe outside the hotel where we're due to meet.

With horn-rimmed glasses, smart jacket and a cravat, he looks a bit like an English gentleman, a...