With the United States not only out of control, but threatening to occupy the rest of the world, the Cannes Film Festival could be a dramatic place on the big screen, and it inevitably sees it on the big screen over the next two weeks. Before Trump took office, the movies released at the Cannes Film Festival were almost OK. The movie is psychic, and it has always been. It is almost guaranteed that many of the Cannes products (and the festive atmosphere) of this year will cause New World disease.

But Cannes has another side. Every year, the festival serves as a shelter, a Ritzy Oasis, a cinema shelter from the storm. That is the comfortable bourgeoisie in Cannes. Just check out the official posters for this year's festival. You might have expected it to be an old movie image, nodding in a slanted iconic-Nas-Poster way in a slanted mess. But the owner of the festival chose two shots from Men and Women (1966), with the title character embracing on the beach - the vision of love you can say is almost fairy tale. "Men and Women" wasn't even a great movie at the time. This is a fake art movie, an elevated art kitsch record. But choosing it for posters is a reminder that Cannes doesn’t always want to be at the forefront. It also wants to pave the way with comfortable food.

If you have any questions about this, consider opening the festival movie tonight, "Partir Un Jour." It's a trivia, and hasn't even been completely successful in the term of your own little beads. But oh, it's to give you a bath with a warm retro glow.

Let's calculate the way to "get out of the day" is the latest art of backward tilt - the experience of living. This is the story of a celebrity chef, Cecil (Juliette Armanet), who lives in Paris but is known everywhere as a "top chef". Her frustrating but rich kitchen vibe echoes Jeremy Allen White's Carmy on "The Bear", the first user-friendly ingredient in the movie. The second movie is in a 10-minute movie, which is a musical, not some old-fashioned production title, or something new and novel postmodern, but one of those casual sensual "reality" musicals, with characters expressing their thoughts in a flexible way. It's like a French John Carney film, nodding to "The Umbrella of Cherbourg."

"Out of Day" has a neat story about Cécile returning to the village where she grew up, her parents were also chefs (but much lower), and still cooking cloakrooms and fries in the truck factory restaurant they owned and operated for decades. (Cécile learned to cook there.) Back in the country, everyone thought that "Michelin" was the tire, and Cécile took a break from stock... To take stocks, she needed to do it because at the opening ceremony, she learned that she was pregnant. The father is her cooking partner (Tewfik Jallab), who is about to open a new flagship restaurant, and Cécile still hasn't settled on the signature dishes.

It feels like an attractive situation, albeit in a half-attitude way. Sometimes I feel like I'm watching Nathalie Baye movies from the 80s. Think of it as a soft feel-good aura in the film, its director and co-written famous figure (his solo debut, which is Amélie Bonnin’s name). It’s a coincidence to be sure, but the name evokes one of the last French films, becoming an international sensation of “men and women”, and it’s the cake of “leave the day” of the seductive candy spirit.

If it's just a better movie! I went with it for a while because Bonning is an elegant and smooth filmmaker. I love the casual everyday life of musical numbers - sometimes they are just fragments - popping up stories like fruits in a plum cake, just bringing us back to a rather neutral tone of the French cinematic semi-documentary drama since the days of Maurice Pialat. Juliette Armanet is a huge pop star, relatively new to the big screen, but she is a natural actor with a look and aura that evokes Meryl Streep decades ago: the fast, contemplative, alert, neurotic sensationist almost grabs everything.

Cécile returns home as her grumpy father (François Rollin) suffers his third heart attack and her passionate mother (Dominique Blanc) doesn't want him to work anymore. But this is not a conflict. However, when Cécile met Bastien Bouillon and his partner, the sauce thickened and she became friends with them in junior high school. The jokes are still just hanging out and hosting the same old drinking party. But Raphael, with his two-color locks, tall and handsome, enters some kind of vague flirting area with Cécile. After a while, this proved purposeless.

Will Cécile terminate her pregnancy? She announced from the very beginning that she was going to go (we can certainly see that having a baby is not suitable for her high maintenance kitchen lifestyle). But if the drama of the film would mean something, Cecil needs to develop in some way. Eric Rohmer is the master of revealing the huge choice to reveal fate, and I think that's what Amélie Bonnin aims, but instead she made a movie, her heroine, who ended up moving from point A to point A. This makes "one day away" a bit contradictory. It hopes that we can make all self-realization so that people who cannot be changed are melancholy and desire.