Cannes opens with Anderson’s ‘Moonrise,’ camel

22 movies compete for the prestigious Palme d’Or during 12-day film festival


CANNES, France (AP) ― Wes Anderson opened the 65th Cannes Film Festival with his meticulously composed ode to young love, “Moonrise Kingdom,’’ while less mannered theatrics surrounded the annual French Riviera extravaganza.

Anderson and his star-studded cast declared the festival officially begun at the opening ceremony Wednesday night shortly after striding down the absurdly glamorous Cannes red carpet, a seaside gauntlet of tuxedos and photographers. The premiere announced the start of 12 days of the most selective festival slate in cinema, with eagerly anticipated films to follow from many of the world’s most esteemed directors.

That is, when a camel isn’t running amok.

Sideshows are as much a part of Cannes as the main events, a tradition kicked off this year by Sacha Baron Cohen. The comedian again promoted his upcoming film, “The Dictator,’’ with a stunt, this time taking a humped mammal on a stroll down the Croisette, Cannes’ famous promenade. 

The more dignified, black-tie-only opening ceremony was hosted by Bernice Bejo, who starred in one of the hits of last year’s Cannes, “The Artist’’ ― which went on to win the best picture Academy Award. In attendance, along with the cast of “Moonrise Kingdom,’’ were Jane Fonda, Eva Longoria, Lana Del Rey and Alec Baldwin, who gallantly carried his fianceuro, Hilaria Thomas, up the many stairs of the Palais.

While Cannes’ 65th anniversary ― marked by festival posters of Marilyn Monroe ― suggests maturity, “Moonrise Kingdom’’ began things on a childlike note.

The film is about two preteens (newcomers Jared Gilman and Kaya Heyward) in love and running away together on a remote New England island in a 1965, Norman Rockwell-esque America. Stamped with Anderson’s trademark visual style to almost the degree of his animated “The Fantastic Mr. Fox,’’ the movie is seen mostly from the point of view of the kids.

The adults in the film ― a combination of Anderson regulars such as Bill Murray and Jason Schwartzman with newcomers such as Bruce Willis, Edward Norton and Tilda Swinton ― are more cynical and react in different ways to the purity of the children’s gambit.

“These are what you call art films,’’ Murray deadpanned at the film’s press conference. “All we get is a trip to Cannes.’’

“Moonrise Kingdom,’’ Anderson’s first film at Cannes, was received well and found largely positive reviews ― a thoroughly Wes Anderson film, it was roundly decided ― starting the festival off with a congenial vibe.

Murray was happy to tweak the entry of the action star Willis to Anderson’s familial troupe of players.

“We could have gotten the Muscles from Brussels, but it wouldn’t have been the same,’’ said Murray, alluding to Jean-Claude Van Damme.

Earlier, Baron Cohen appeared in character as Admiral General Aladeen at a news conference outside his hotel. A camel was brought to him, which he then mounted with some trouble and rode down the row of boutique stores to apparently take in some shopping.

As he slowly made his way down the street, Baron Cohen was mobbed by dozens of photographers, bringing traffic to a halt and drawing the curiosity of police. After a short stroll, Baron Cohen turned around and returned to the hotel.

Such a stunt, while certainly unique, isn’t uncommon at Cannes, where movies often go to extremes to catch the world media’s attention. Billboards of films due out this year are plastered around town and many others are being screened out of competition.

DreamWorks Animation and Paramount Pictures have consistently used the festival to hype projects in the works, and did so again Wednesday with a presentation of “The Rise of the Guardians,’’ an animated family film for this year’s holiday movie season.