Wim Wenders could be the Bob Dylan of European cinema: always around, always the same, always different. Sometimes he’ll arrive in Cannes with a documentary, like 2018’s Pope Francis: A Man of His Word, and sometimes he’ll come with a work of fiction, like his timeless 1984 Palme d’Or winner Paris, Texas.
This year, he’s coming with one of each: Anselm, a 3D portrait of artist Anselm Kiefer, and Perfect Days, the story of a Tokyo toilet cleaner.
Ironically, Wenders thought he’d have more time on his hands after the pandemic and moving on from his role at the European Film Academy.
How wrong he was… DEADLINE: You have two films in Cannes. Which would you prefer to start with? WIM WENDERS: Let’s start with the one that was in the works longer.
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