Armageddon Time, portrait of white privilege, stirs Cannes
Armageddon Time, starring Anthony Hopkins, Anne Hathaway and Jeremy Strong, has stirred Cannes like no other American film at the festival this year.
When the Cannes Film Festival audience stood to applaud James Gray’s richly observed autobiographical drama Armageddon Time, about the director’s own 1980s childhood in Queens, Gray’s voice quivered as he addressed the crowd.
“It’s my story, in a way,” said Gray. “And you guys shared it with me.”
“It took every last bit of control not to burst out into tears,” Gray said, still recovering the next day in Cannes. “It’s been a really strange journey making the film and my father died two months ago of COVID. The whole process has been fraught and filled with emotion.”
Armageddon Time, starring Anthony Hopkins, Anne Hathaway and Jeremy Strong, has stirred Cannes like no other American film at the festival this year. Gray’s movie, which Focus Features will distribute in the US later this year, has been received as a tender triumph for the New York filmmaker of The Immigrant and Ad Astra not just for his detailed excavation of his childhood but for how the film reexamines his own white privilege growing up — how race and money can tip the scales in the formative years of young people.
Paul Graff (Banks Repeta) is a sixth-grader modeled after the 53-year-old Gray in a middle-class Jewish family. At school, Paul’s friend Johnny (Jaylin Webb) is a Black kid with fewer advantages, who’s treated differently than Paul. When Paul’s family elects to send him to a private school, the gap only grows. Connections to today’s inequities aren’t hard to decipher. At the private school, Jessica Chastain makes a cameo as Maryanne Trump, sister to Donald and an assistant U.S. attorney.
For Gray, Armageddon Time is period film about now, and a coming home after two far-flung films in the Amazon-set The Lost City of Z and the space adventure Ad Astra.
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AP: When did Armageddon Time start formulating in your head?
GRAY: I was at an art exhibit in Los Angeles five years ago. Painted on the wall it said: “History and myth begin in the microcosm of the personal.” I had made this film before this where I went into space. It was a very difficult movie to make and a very difficult movie to complete. The end result was not fully mine. That was a very sad experience for me. I wanted to try to rediscover my love for the medium and why I wanted it do it in the first place. I said, “Screw it, I’ll make the most personal film I can.”