“I love you,” I tell her. “I love you because all the loves in the world are like different rivers flowing into the same lake, where they meet and are transformed into a single love that becomes rain and blesses the earth.
“I love you like a river that creates the right conditions for trees and bushes and flowers to flourish along it’s banks. I love you like a river that gives water to the thirsty and takes people where they want to go.
“I love you like a river that understands that it must learn to flow differently over waterfalls and to rest in the shallows. I love you because we are all born in the same place, at the same source, which keeps us provided with a constant supply of water. And so, when we feel weak, all we have to do is wait a little. The spring returns, the winter snows melt and fills us with new energy.
“I love you like a river that begins as a solitary trickle in the mountains and gradually grows and joins other rivers until, after a certain point, it can flow around any obstacle in order to get where it wants.
“I receive your love, and I give you mine. Not the love of a man for a woman, not the love of a father for a child, not the love of God for his creatures, but a love with no name and no explanation, like a river that cannot explain why it follows a particular course but simply flows onward. A love that asks for nothing and gives nothing in return; it is simply there. I will never be yours, and you will never be mine; nevertheless, I can honestly say: I love you, I love you, I love you.”
From Aleph by Paulo Coelho
“Traveling is like flirting with life. It’s like saying, ‘I would stay and love you, but I have to go; this is my station.’”
To grace the poster for its 66th edition, the Festival de Cannes has chosen a couple who embody the spirit of cinema like no other: Joanne Woodward and Paul Newman, photographed during the shooting of the aptly named A New Kind of Love, by Melville Shavelson (1963).
For the Festival it is a chance both to pay tribute to the memory of Paul Newman, who passed away in 2008, and to mark its undying admiration for Joanne Woodward, his wife and most favoured co-star.
They were honoured at the Festival de Cannes in 1958 – the year of their marriage – with the selection In Competition of Martin Ritt’s The Long Hot Summer, the first film in which they appeared together. The links between their story and that of the Festival continued with a series of films directed by Newman, who cast Woodward in unforgettable roles in The Effect of the Gamma Rays on Man-in-the-Moon Marigolds (Competition – 1973) and The Glass Menagerie (Competition – 1987).
The poster evokes a luminous and tender image of the modern couple, intertwined in perfect balance at the heart of the dizzying whirlwind that is love. The vision of these two lovers caught in a vertiginous embrace, oblivious of the world around them, invites us to experience cinema with all the passion of an everlasting desire. — Cannes 2013
"To come home from another home is a weird feeling, because people expect you to be the person you were when you left, and that’s impossible. You expect things to be exactly the same as when you left, and that’s impossible. Maybe it’s impossible to even truly come home once you’ve gone away because of those changes. Coming home is strange, because now that place is just a tiny bit less of a home."