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Sondra Locke, Oscar-nominated actress and former partner of Clint Eastwood, died last month at the age of 74, according to the Los Angeles County Department of Public Health.

Locke earned her Oscar nomination in 1968 for her supporting role in the adaptation of Carson McCullers’ “The Heart Is A Lonely Hunter,” starring alongside Alan Arkin. It was Locke’s first acting role, which led to star turns in films like “Willard” and “The Second Coming of Suzanne,” the latter being her first title role.

Her career then took a big turn in 1975 when she starred alongside Clint Eastwood in “The Outlaw Josey Wales.” She played the love interest of Eastwood’s character and began dating him soon after. During their 14 year relationship, Locke and Eastwood made six films together, including the highest grossing installment of the “Dirty Harry” franchise, “Sudden Impact,” in 1983. Their relationship ended with a palimony suit in 1989 after Eastwood locked Locke out of their house, and was discovered to have fathered children with another woman during their relationship.

Locke and Eastwood reached a settlement in which Eastwood helped set up a development and directing deal at Warner Bros. in exchange for dropping the palimony suit. But Locke eventually sued Eastwood for fraud in 1995, asserting that the deal was a sham designed to destroy her career — Warner Bros, Locke said, had rejected every single project she pitched. She also sued Warner Bros. in a separate suit. Eastwood and WB both settled with Locke for undisclosed amounts of money, and the case has since been cited in law textbooks to illustrate of the legal concept of good faith.

Also Read: Bill Siegel, Oscar-Nominated Documentary Producer, Dies at 55

Eight years later, Locke wrote a tell-all book about their relationship titled “The Good, the Bad, and the Very Ugly.” In it, Locke accused Eastwood and other Hollywood stars and studio heads of manipulating and sabotaging her career.

“[Eastwood] is like the emperor,” Locke told TheWrap Editor-in-Chief Sharon Waxman in a 1997 profile for The Washington Post. “He always had his own company store. If you were in Clint Eastwood movies, you were in the Clint Eastwood movie business. You weren’t in the movie business. You weren’t part of Hollywood. This became clear early on; people stopped calling. They automatically assumed I was working exclusively with Clint.”

In 1986, Locke made her directorial debut with “Ratboy,” which starred her as a failed window dresser who tries to adopt a human-rat mutant she discovers while dumpster diving. While the film was a flop in the U.S., it became critically acclaimed in Europe. She went on to direct the 1990 crime film “Impulse” and the 1997 thriller “Do Me A Favor.”

In 1967, Locke married actor, sculptor and artist Gordon Anderson, her childhood friend. Anderson was gay and Locke described their relationship as essentially siblings. In 1996 during her lawsuit against Eastwood, she explained their relationship and why they married. “It’s funny the sort of cultural changes, but in those days males and females never lived together unless they were married,” she told the jury, according to the Los Angeles Times. Locke also said that Anderson was “more like a sister to me.”

Locke and Anderson never divorced and remained close throughout their lives.

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Piers Morgan took Tess Holliday to task on Thursday, saying that the plus size model could not possibly be happy with her appearance, adding that any claim from her to the contrary was only evidence of denial.

“Nobody, male or female, could see their weight surge to over 300lbs if they’re just 5ft 3in tall, and be genuinely happy,” wrote Morgan in his latest column for the Daily Mail. “Right now, I think you’re trapped in a hellish spiral of self-delusion in which your soaring fame and fortune is entirely dependent on you remaining morbidly obese.”

Morgan, a former CNN anchor, now currently hosting “Good Morning Britain,” wrote his piece after Holliday posed for the most recent issue of Cosmopolitan magazine.

*NEW: My open letter to @Tess_Holliday about why she is so wrong to celebrate her morbid obesity: via @MailOnline

— Piers Morgan (@piersmorgan) September 20, 2018

“Morbid obesity, as its name suggests, is a very serious health condition. Those who are diagnosed with it are at greater risk for illnesses including diabetes, high blood pressure, gallstones, osteoarthritis, heart disease and cancer,” Morgan continued. “Yet Cosmopolitan sat you in a throne and declared you’re ‘a role model for others.”

In the Cosmopolitan UK piece, Holliday was lauded as “everything the fashion industry needs” and plugged her #effyourbeautystandards hashtag campaign on Instagram.

“I’m at the heaviest I’ve ever been in my life now and it took me being the heaviest to finally love myself,” she told the magazine.

Complications from obesity and being overweight kills 2.8 million people per year, according to the European Association for the Study of Obesity.

It’s not the first time Morgan has taken Holliday and Cosmopolitan to task over the issue. In late August, when news of the cover first emerged, Morgan unleashed his displeasure on Instagram.

“As Britain battles an ever-worsening obesity crisis, this is the new cover of Cosmo. Apparently we’re supposed to view it as a ‘huge step forward for body positivity,” he scoffed. “What a load of old baloney. This cover is just as dangerous & misguided as celebrating size zero models.”

Reps for Holliday did not immediately respond to request for comment from TheWrap.

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Ariana Grande has a lot to celebrate these days, what with the launch of her new album Sweetener and her and fiancé Pete Davidson’s whirlwind romance. But the powerhouse singer is also battling with anxiety more than a year after 22 people were killed in a terrorist attack following her concert in Manchester, England.

During a sit-down interview with Ebro Darden on Apple’s Beats 1 Radio Friday, Grande was overcome with emotion — crying over the pain she carries in the wake of Manchester.

The topic came up when Darden mentioned “Get Well Soon,” the Sweetener track that addresses the tragedy.

“It’s just about being there for each other and helping each other through scary times and anxiety,” Grande, 25, said of the song, tears welling in her eyes. “You know, there’s some dark s— out there, man. And we just have to be there for each other as much as we can. Because you never f—ing know, you know. So I wanted to do something to make people feel good and less alone.”

“It’s not just about that. It’s also about personal demons and anxiety and more intimate tragedies as well,” she continued through her cries, later apologizing for “bawling” the whole time. “Mental health is so important. People don’t pay enough mind to it because we have things to do. We have schedules, jobs, kids, places to be, pressures to fit in, Instagram Stories — whatever the f— facade you’re trying to put on, trying to keep up. People don’t pay attention to what’s happening inside. That’s why I felt it was important.”

On “Get Well Soon” — the final track of Sweetener — Grande sings to fans about taking care of themselves and removing negativity from their lives. “This is for everybody / Babe, you gotta take care of you body, yuh yuh,” she sings. “Ain’t no time to deny it, that is why we talking about it / So deal with it, don’t try to get by it.”

Forty seconds of silence follow at the end of the song, bringing its total to 5 minutes and 22 seconds, in honor of her fans who were killed or injured outside the concert venue on May 22 last year.

“I just wanted to give people a hug musically,” Grande told Darden. “I feel like the lyrics can be kind of corny when I talk about wanting to hug you and stuff, but I do. … People got to be nicer. ”

Grande went on to explain that the Manchester attack changed her perspective on life.

“We see this s— on the news. you feel bad, you tweet it, you post a picture, you send your condolences, you say something and then you move on. … people are permanently affected by this s—,” she revealed to Darden.

“Perspective, it changes everything. It changes your life quite a bit,” she said. “I really want to be present, and follow happy impulses, and figure that out later. You want to just stay in the moment. You try not to give into fear because obviously that’s the whole point of being here.”

After the concert, Grande made the tough decision to finish her European tour. “That’s the point of finishing my tour: to an example for my fans who were fearless enough to show up to the f—ing shows,” she said. “You want to keep going. You want to not be afraid because of course, if you give them that, they’ve won.”

“We did everything to not. And we still do everything to not. But the truth is, it’s scary,” Grande added. “Going anywhere, and you look at places differently. I don’t like to have security come with me everywhere. It makes me feel inhuman. It makes me feel weird. I know people just try to take care of me, but I want to escape with my friends and run around and be free. But you think about it differently when s— like that happens. I don’t want to have metal detectors at my shows, I don’t want to have people taking tiny ass bag into my shows. But you better bring a tiny ass bag into my shows! You don’t want to give in and you don’t want to be afraid but it’s still there.”

RELATED: Ariana Grande Says Manchester Bombing ‘Is Still So Heavy on My Heart’: ‘It’s Very Painful’

Earlier this year, the “No Tears Left to Cry” singer opened up about her battle with anxiety and post-traumatic stress disorder following the bombing, which also injured more than 500 people.

“It’s hard to talk about because so many people have suffered such severe, tremendous loss,” Grande told Vogue U.K. for their July issue. “But, yeah, it’s a real thing. I know those families and my fans, and everyone there experienced a tremendous amount of it as well. Time is the biggest thing. I feel like I shouldn’t even be talking about my own experience — like I shouldn’t even say anything.”

RELATED VIDEO: Ariana Grande Cries While Singing ‘Natural Woman’ in Powerful Tribute to Aretha Franklin

She previously revealed the attack was particularly horrifying because the concert was supposed to be a place of happiness.

“Music is supposed to be the safest thing in the world,” she told Time. “I think that’s why it’s still so heavy on my heart every single day. I wish there was more that I could fix. You think with time it’ll become easier to talk about. Or you’ll make peace with it. But every day I wait for that peace to come and it’s still very painful.”

On the anniversary of the attack, Grande — who returned to the U.K. shortly after to raise funds for the victims at the One Love Manchester benefit concert — reflected on the victims with a touching message on Twitter.

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Singer-songwriter Elvis Costello is battling an “aggressive” form of cancer and has canceled the remainder of his current European tour.

The 63-year-old “Alison” singer shared the news on Facebook Friday, saying he has undergone surgery and that recovery will “take longer than I would have wished.”

Concerts dates in the U.K., Croatia, Austria, Norway and Sweden that were previously scheduled through mid-July have been canceled. He also canceled U.K. shows in Southend and Plymouth in June.

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The celebrated musician left his fans with some “more optimistic news,” that he and his band The Imposters, along with more contributors, have made a “magnificent new record” expected to release in October.

Here is Costello’s full statement:

Six weeks ago my specialist called me and said, “You should start playing the Lotto”. He had rarely, if ever, seen such a small but very aggressive cancerous malignancy that could be defeated by a single surgery.

I was elated and relieved that our European summer tour could go ahead.

Post-surgical guidelines for such surgery, recommend three weeks to four weeks recovery depending on whether you are returning to a desk job or an occupation that involves physical work or travel.

It was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances on a nightly basis but by the time we reached the Edinburgh Playhouse, I was almost fooled into thinking that normal service had been resumed.

I have to thank our friends attending last night’s show in Amsterdam and those in Antwerp, Glynde and at Newcastle City Hall for bearing me up. The spirit has been more than willing but I have to now accept that it is going to take longer than I would have wished for me to recover my full strength. Therefore, I must reluctantly cancel all the remaining engagements of this tour.

My apologies go to our ticket holders in Manchester, Pula, Graz, Vienna, Tysnes and Rattvik but I would rather disappoint our friends there by not appearing than in pressing on with a show that is compromised and
eventually puts my health at risk.

My deep thanks go to Pete Thomas, Steve Nieve and Davey Faragher of The Imposters for all their deep friendship, love and support during this upsetting time. Thanks also to Kitten Kuroi and Briana Lee whose beautiful voices have spurred me on to do the singing that I’ve managed, whatever the cost. It goes without saying that there are many others who have worked to get us to the stage and from town to town to whom I am also deeply grateful.

To leave you with some more optimistic news, The Imposters and I – together with several of our other friends – have made a magnificent new record of which we are truly proud. It will be issued in October, I believe. We will return at the soonest opportunity to play that music and your favourite songs that still make sense to us all.

Take very good care of your loved ones but Gentleman, do talk to you friends – you’ll find you are not alone – seek your doctor’s advice if you are in doubt or when it is timely and act as swiftly as you may in these matters. It may save your life. Believe me, it is better than playing roulette.

Yours through music. Elvis Costello

The canceled dates of the remainder of his tour are:

Fri 6th UK, Manchester, Castlefield Bowl
Sun 8th CROATIA, Pula, Pula Arena
Mon 9th AUSTRIA, Graz, Kasematten – Schlossberguhne
Weds 11th AUSTRIA, Vienna, Konzerthaus
Sat 14th NORWAY, Tysnes, Tysnesfest Gjesrstad Arena
Mon 16th SWEDEN, Rattvik, Dalhalla

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Vanessa Paradis has a ring on it.

Johnny Depp’s former companion married film director Samuel Benchetrit in a discreet ceremony on Saturday afternoon.

This is the first marriage for the French singer and actress. Paradis and Depp’s two children — daughter Lily-Rose, 19, and son Jack, 16 — were also in attendance.

According to the French newspaper Le Parisien, the couple married in a small schoolhouse town hall in Saint-Simeon, a commune located one hour west of Paris in north-central France.

The bride, 45, carried a bouquet of pink roses while wearing a lacy cream-colored gown with an embroidered veil. Her hair was styled down, with flowers among her tresses.

The couple became engaged last November, a source tells PEOPLE, after they worked together on the film Chien, which screened this May at the Cannes Film Festival.

Mariage de Vanessa Paradis et Samuel Benchetrit : les images de la sortie de la mairie

— Le Parisien (@le_Parisien) June 30, 2018

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Approximately two dozen guests were invited to the ceremony, according to eyewitness reports.

Since the couple went public last fall, several locations were thought to have been on the short-list for the ceremony this summer.

Saint-Simeon, a tiny country village of less than 900, was selected for its discretion as well as the attachment Paradis has for the village. She has a country estate nearby, and until his death last year, her father owned a small restaurant in the quiet country commune.

Paradis is a superstar in France, where she began her career as a 14-year old child pop star following the international success of her single “Joe le Taxi.”

RELATED: Johnny Depp and Vanessa Paradis’ Son Jack Is ‘Fine and Doesn’t Have a Health Issue’: Source

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For months now, Harvey Weinstein has been pretending that this whole #MeToo thing was going to blow over, that eventually he’d be back, somehow.

On Friday that fantasy came crashing in with the force of a thousand news cameras. It’s probably a day Harvey Weinstein thought would never come. But it did. He was marched into the New York criminal court like some low-level thug — like some mob operator, like some drug dealer, like some terrorism suspect — charged with three felonies, saddled with an ankle monitoring device and forced to hand over his passport.

And then marched out in handcuffs.

So after months at an Arizona spa where no one knew him, he is now confined to New York and Connecticut, where everyone, everywhere knows him. Where the media will stalk him like the click-bait he is, where restaurants won’t take his reservation, where people will hiss if he goes to the theater, where every corner holds the reminder of the power and glory he once had and that is now gone. It will be much harder to hide.

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He entered Manhattan’s first precinct clutching a book about Elia Kazan, a famous director exiled from Hollywood for ratting on Communist colleagues, as a slim ray of hope that he might see a way through it all. Kazan eventually won an honorary Oscar in 1999 and we study his masterpieces like “On the Waterfront” in universities.

But this isn’t the Red Scare. It’s rape. And the victims are not one or two colleagues, but dozens of women. There isn’t a path forward for Weinstein anymore. It is stunning to say and believe this since he reigned as a force of nature for close to four decades.

One year ago, Weinstein was swanning around the Cannes Film Festival as he always did, his posse of minions and executives around him, talking up his movies, making deals, hanging on yachts with billionaire pals and movie stars.

He even stopped by a Wrap event with the director of “Bend It Like Beckham,” Gurinder Chadha. On this day last year he was at his favorite lair, the Hotel du Cap in Cap d’Antibes, for the AmFar AIDS gala, with Georgina Chapman, the fashion designer who is no longer his wife.

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He knew then what the rest of us did not, that a storm was brewing in two investigative projects, at the New York Times and the New Yorker. I’m sure he believed then that he’d find a way through any thicket of accusations — because he always had in the past.

When I tried to write about Weinstein keeping on the Disney payroll a man who served essentially as his pimp (Weinstein was then a Miramax chief, owned by Disney), he tried everything from cajoling me with movie stars to paying a personal visit to the New York Times executive editor to legal threats to keep it out of print.

He didn’t kill my story, but it landed like a tree in the forest. Utter silence. So he bought more time. (He never tried buying me off with a book deal, and I still keep on a bulletin board in my office what he told one of his directors about me: “That dame won’t play ball.”)

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He won that round like he won most rounds.

At this month’s Cannes Film Festival, Weinstein accuser Asia Argento correctly called the festival his “hunting ground.” (She and others who came forward on the record knew Fabrizio Lombardo, the aforesaid procurer, who was often by Weinstein’s side at parties in Europe.) And she stood at Cannes’ closing ceremony and swore Weinstein would never return.

But Weinstein probably didn’t believe it. For months I’ve been hearing from multiple sources that he was not standing down. You could tell this was true because he would insert himself into public debates when he should have been hiding in shame — apologizing to Meryl, defending himself from Lupita N’yongo.

If he ever planned to flee the country, he didn’t act like it. Now that he’s surrendered his passport it’s too late to try the Roman Polanski route — which can lead to its own set of heartbreaks.

Up until his arrest this week, I suspect he really believed that eventually he’d fight his way back into Hollywood’s good graces. Maybe not to his former status, but that he’d at least have a fighting shot at a comeback.

At this point, though, it’s hard to imagine Harvey Scissorhands cutting a happy ending for his own story.

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"Human Rights in a Digital Age" is the theme of this year's RightsCon conference in Toronto. An essential human right is access to safe, affordable prescription medications. The Internet makes this possible, our organization has proven it's achievable and sustainable over an extended period of time, and our proposed "Brussels Principles" provide the framework to take our proven success internationally. Across the Globe, to people everywhere.

Let me back up to RightsCon Brussels 2017. At that groundbreaking conference, the Canadian International Pharmacy Association (CIPA) participated in a workshop entitled: Online Access to Affordable Medication: Applying Human Rights Law to Cyber Rule-Making and Internet Governance. Together with Knowledge Ecology International, Public Citizen, Electronic Frontier Foundation, and Prescription Justice, we jointly formulated the aforementioned Brussels Principles, which are best practices for licensed pharmacies that enable safe, reliable, and affordable medication sales over the Internet.

At RightsCon 2018 (Toronto, May 16-18) with our session: Making Safe Online Access to Affordable Medication Real, we will serve on a panel of distinguished international experts, addressing this urgent issue and discussing the proactive framework that will ensure its success.

Heading into the conference, it's important to give this critical discussion some historical context. Specifically, why this is such an important issue, how we're qualified to address it, and how the Brussels Principles will help negotiate the intersection of human rights and digital technology.

As the Executive Director of the Canadian International Pharmacy Association, every day I receive emails and speak to people who are trying to find a safe source of medications from a pharmacy online. Why? Because they can't afford or don't have access to their prescribed medication where they live. In fact, CIPA has served more than one million patients annually, providing safe and affordable daily medications (but not controlled substances). The high cost of medications in the U.S. is something already on the radar at both the federal and state levels; witness repeated comments by the U.S. president, as well as a recent, overwhelming (141 to 2!) vote by the Vermont House of Representatives in support of a bill to reduce the cost of prescription medications through importation.

Senator Rand Paul also clearly voiced the general feeling of the average American during Health and Human Services Secretary Alex Azar's confirmation hearing. Mr. Azar noted that "Importation must be reliable and safe, in the mind of the president." Senator Paul interrupted him: "You would have to sit there and say the drugs from the European Union or Canada or Australia are not safe… It is frankly just not true… It's a canard that has been going on year after year after year… It's just BS! ... to serve the pharmaceutical companies..."

But access and affordability to safe medications is not just a U.S. problem, and we have seen a growing number of patients from countries around the world seeking to have their prescriptions filled from Canadian and international licensed pharmacies.

Can medications be ordered safely on the Internet? Yes, with proper regulation and vigilance.

The Canadian International Pharmacy Association is visible proof this can be done. Remember the one million patients a year I mentioned above? We've been serving that many for more than 15 years, and we have a 100% perfect safety record.

We achieve this perfect safety record through rigorous procedures and controls established and monitored by our organization, and adhered to by our pharmacy members. We also are fully engaged in the fight against "rogue" pharmacies illegitimately using our certification mark or otherwise trying to leverage our good Canadian name and reputation. CIPA works closely with both attorneys and law enforcement on an ongoing basis in this effort.

Based on our experiences and safety record selling medications online since 2002, we are pleased to work with so many other Internet and industry experts on the Brussels Principles.

Serving patients economically and safely, doing what is expected of industry leaders by assisting law enforcement, participating in the development of the Brussels Principles, active engagement in ICANN, all add up to a solution that is effective, practical, and easily within our reach.

We'll be discussing this topic in detail, and seeking feedback to the Brussels Principles, at our RightsCon 2018 session. I welcome you to participate with us in Toronto, on May 17 at 9 am (Session #636).

Our renowned panel of thought leaders includes Dr. Jillian Kohler, Professor, Leslie Dan Faculty of Pharmacy and Munk School of Global Affairs, and Aria Ilyad Ahmand who is a Consultant to the World Health Organization on Substandard and Falsified Medical Products. Jillian pioneered the methodology on good governance in the pharmaceutical system for the World Bank, which was subsequently adopted by the WHO and has been applied in over 35 countries globally. Aria is a policy advisor at the Dahdaleh Institute for Global Health Research at York University, where he has also served since 2014 as a consultant to the WHO's Department of Essential Medicines and Health Products. A past Duke University Global Health Fellow and past faculty member of the Global Health Education Initiative at the University of Toronto, Aria is currently completing his PhD in Global Health Governance. Joining these two experts will be other industry representatives, including Gabriel Levitt (Prescription Justice); Tracy Cooley (Campaign for Personal Prescription Importation); Dr. Shivam Patel (PharmacyChecker); Robert Guerra (Privaterra); and myself.

I hope to see you there!

Written by Tim Smith, General Manager | 5/14/18

If you’re looking to sum up the 2018 Cannes Film Festival so far, you might want to turn to an instructive scene near the end of Eva Husson’s competition entry “Girls of the Sun.” In the scene, Mathilde, a war correspondent played by Emmanuelle Bercot, is speaking to Bahar, a female squad leader played by Golshifteh Farahani.

“Be warned,” Mathilde says of the story she’s going home to write about Bahar’s exploits on the battlefield. “You’re going to be a heroine.”

“We’re all heroines,” says Bahar.

Also Read: Cate Blanchett Calls for 'Parity and Transparency' in Red Carpet Protest of Gender Inequity in Cannes

Is this the “we’re all heroines” edition of the Cannes Film Festival? Well, consider this:

  • Husson’s film, one of three movies in the competition directed by women, got what was by most reports the festival’s loudest and longest standing ovation at the end of its gala premiere on Saturday evening.
  • That same premiere began with 82 women, ranging from 87-year-old legend Agnes Varda to jury president Cate Blanchett, walking halfway up the steps into the Grand Theatre Lumiere and then stopping, as a protest against the festival’s historic scarcity of women in competition.
  • For only the second time in history, the main competition jury is made up of more women than men.
  • The biggest bidding war and the biggest deal in the Cannes marketplace so far has been for “355,” a globetrotting female-spy thriller masterminded by Jessica Chastain and starring Chastain, Marion Cotillard, Lupita Nyong’o, Penelope Cruz and Fan Bingbing.
  • The biggest news so far has been generated by Saturday’s red-carpet statement read by Blanchett and Agnes Varda, and by an event scheduled to take place on the beach on Monday, at which the French gender equality group 50/50 by 2020 is expected to ask for a gender-parity pledge from Cannes General Delegate Thierry Fremaux and the directors of the Directors’ Fortnight and Critics’ Week sidebars.

The lack of women is often news at Cannes, but this year their absence and their presence is the biggest story of the first six days of the festival. The currents that hit Hollywood in the wake of the Harvey Weinstein revelations and led to Frances McDormand’s impassioned Oscar-night speech have definitely washed up onto the Croisette, and this year’s Cannes, the first in memory without Weinstein’s oversized presence, is at least slightly more inclusive than usual.

Also Read: Cannes' Female Troubles: Women Directors Have Always Been Scarce

We won’t know for at least a year how effective this year’s campaign has been; Fremaux has repeatedly said that he’s in favor of affirmative-action-style provisions to increase the number of women behind the scenes at Cannes, but he’s steadfastly insisted that gender should never be a factor in programming decisions.

And we won’t know if this is the year that only the second woman ever takes home the festival’s top prize, the Palme d’Or. On the heels of Saturday’s “Girls of the Sun” screenings, some observers went so far as to brand Husson the odds-on favorite to follow Jane Campion (“The Piano”) as the only women to win — but that’s certainly a premature statement with 12 of the 21 main-competition films yet to screen as of midday Sunday.

Still to come: Two more films from female directors, Alice Rohrwacher’s “Lazzaro Felice” and Nadine Labaki’s “Capharnaum,” plus new work from esteemed auteurs Hizokazu Kore-eda (“Shoplifters”), Lee Chang-dong (“Burning”), Matteo Garrone (“Dogman”) and the only past Palme winner in the group, Nuri Bilge Ceylan (“The Wild Pear Tree”).

Also Read: 'Girls of the Sun' Film Review: A Middle Eastern Feminist Hero Slays ISIS

Also in the wings are the two American directors in competition: Spike Lee with “BlacKkKlansman” and David Robert Mitchell with “Under the Silver Lake.”

That’s a lot left to see – and in addition, it’s entirely possible that “Girls of the Sun,” for all its effectiveness as a piece of cinema, might be too slick and even manipulative for the Cannes jury, however much they might want to honor a female director.

(I’d say it probably has a better chance of winning the Oscar for Best Foreign Language Film than the Palme d’Or.)

So by the end of the festival, Cannes 2018 could belong to a different film – maybe a film from a different woman, more likely one from a male director.

Also Read: 'Cold War' Film Review: Romance in Postwar Europe Is Ravishing and Haunted

Of the competition films that have screened since the festival opened on Tuesday with Asghar Farhadi’s “Everybody Knows,” the one to receive the most acclaim is probably “Ida” director Pawel Pawlikowski’s austere love story “Cold War,” though Kirill Serebrennikov’s Russian punk(ish) musical “Leto,” Jafar Panahi’s modestly subversive “Three Faces,” Christophe Honore’s AIDS saga “Sorry Angel” and Jean-Luc Godard’s assaultive “The Image Book” all have strong partisans.

So far, though, the biggest discoveries of Cannes ’18 have been in the margins, with films like Lukas Dhont’s affecting transgender teen drama “Girl,” while the biggest buzz has been around transgressive treats like Gaspar Noe’s predictably extreme “Climax” and Ali Abbasi’s troll-sex romp “Borders.”

Still, none of those have had anywhere near enough heat to steal the spotlight from those 82 women standing on the steps of Grand Theatre Lumiere on Saturday. For now, that’s the story of the 71st Cannes Film Festival: All the heroines.

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Amy Schumer is getting back into action after her recent hospitalization for a kidney infection.

The I Feel Pretty actress shared a black and white photo of herself standing outside with a black dog in the background. In typical Schumer fashion, she has a slight smile on her face and cheekily wore no pants.

“On the mend,” Schumer, 36, wrote in the caption.

The comedian shared on Instagram at the end of April that she had been hospitalized for five days with a “horrible” kidney infection.

Schumer was in the middle of promoting her new film I Feel Pretty when the infection struck.

“Here’s what I’ve been up to this week. I was hospitalized for five days with a horrible kidney infection,” she posted on Instagram. “I want to give a big thank you to the doctors, the bad ass nurses also my husband who’s name is, I want to say, Chris? And my sisters Kimby and Mol who have been by my side the whole time.”

Schumer wrote she had hoped to go to the London premiere of I Feel Pretty, but her doctors “have told me that’s a no go.”

“I’m really disappointed selfishly to miss this trip because I love London and Europe in general and all the great people (food) there. But I need to put my health first,” she said.

Despite her recent health problems, Schumer shared she was excited by the positive reception for her new film.

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“I am so grateful for all the support the movie is getting,” she said. “I hope people check it out in England and everywhere else in the world. It’s sweet and fun and you will walk out feeling better. Which is something I hope to feel soon too.”

This is the second time in two years that Schumer ended up in the hospital for health issues. During a trip to Paris with her then-boyfriend Ben Hanisch, they both contracted food poisoning.

“That is when I learned not to ever throw up in a wicker basket,” Schumer later joked to Ellen DeGeneres. | 5/3/18

Amy Schumer spent five days in the hospital this week being treated for a “horrible kidney infection,” the actress said in an Instagram post Friday morning.

In the post, Schumer said that the illness caused her to miss the opening of her new film “I Feel Pretty.”

Schumer also thanked her husband, Chris Fischer, and sisters for their support during her medical issue, as well as the hospital staff that treated her.

Also Read: 'I Feel Pretty' Film Review: Amy Schumer Teaches a Despicable Lesson in Self-Love

“Here’s what I’ve been up to this week. I was hospitalized for five days with a horrible kidney infection,” Schumer wrote. “I want to give a big thank you to the doctors, the bad ass nurses also my husband who’s name is, i want to say, Chris? and my sisters Kimby and mol who have been by my side the whole time.”

Schumer continued, “I wanted to share this with you because this is sexy as hell but mostly because I was meant to go to London for the opening of I Feel Pretty and my doctors have told me that’s a no go. I’m really disappointed selfishly to miss this trip because I love London and Europe in general and all the great people (food) there. But I need to put my health first.”

The actress concluded, “I am so grateful for all the support the movie is getting. I hope people check it out in England and everywhere else in the world. It’s sweet and fun and you will walk out feeling better. Which is something I hope to feel soon too.”

Also Read: Amy Schumer's 12 Best Moments: From a 'Slutty' Tattoo Joke to That Startling Cheer Dance (Photos)

Read the post below.

Here’s what I’ve been up to this week. I was hospitalized for 5 days with a horrible kidney infection. I want to give a big thank you to the doctors, the bad ass nurses also my husband who’s name is, i want to say, Chris? and my sisters Kimby and mol who have been by my side the whole time. I wanted to share this with you because this is sexy as hell but mostly because I was meant to go to London for the opening of I Feel Pretty and my doctors have told me that’s a no go. I’m really disappointed selfishly to miss this trip because I love London and Europe in general and all the great people (food) there. But I need to put my health first. I am so grateful for all the support the movie is getting. I hope people check it out in England and everywhere else in the world. It’s sweet and fun and you will walk out feeling better. Which is something I hope to feel soon too.

A post shared by @ amyschumer on Apr 27, 2018 at 8:39am PDT

“I Feel Pretty” opened to $16 million from 3,440 screens domestically last weekend — slightly higher than pre-weekend projections, but lower than the $19.5 million start made by Schumer’s last film, “Snatched.” The comedy has a 34 percent on Rotten Tomatoes.

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