Ebbing, Missouri. Foggy morning. Three billboards stand abandoned by the side of a small road. Like a ghost. Martin McDonagh wastes no time setting up the scene of his third feature. After her daughter’s brutal raped and murder remains unresolved for over seven months, Mildred Hayes, a mid-western single mother rents three billboards to call the village’s police force out for their inefficiency: “Raped while dying”, “And still no arrests”, “How come Chief Willoughby?”. It is not hard to imagine that we are facing a tale of revenge, outrage and rage. But Three Billboards Outside Ebbing, Missouri, is far from being your typical revenge drama. This is not a story of a heroic mother courage, corrupt police officers and mean villains, you should know that ahead. This is a story that shows what we would be capable of doing in such a terrible situation. This could have been – and probably is – a real story we can all identify with.
Cannes 2017 came to an end today and my oh my what an interesting year it has been (despite my lack of entries since I was not there and therefore I can’t comment on that). The 70th edition finished in a very unconventional way, much like its jury President, Pedro Almodóvar, with many additional prizes being awarded, including a tie for Best Screenplay and a special prize for Nicole Kidman, who is clearly having the time of her life (and we love it).