Cannes Day 6: Jeff Nichols’ ‘Loving’ takes human approach to historic civil rights case

Ruth Negga, Jeff Nichols and Joel Edgerton talk about "Loving" in Cannes.
Ruth Negga, Jeff Nichols and Joel Edgerton talk about “Loving” in Cannes.


Austin director Jeff Nichols takes a thankfully quiet approach to what was once a controversial topic in “Loving,” which details the battle to legalize interracial marriage in the United States.

Instead of presenting people arguing about ideas and politics, he instead starts to film slowly, showing a romance between Richard and Mildred Loving, who hold hands, kiss and live quietly in a racially diverse Virginia community. Richard (Joel Edgerton) works in construction and hangs out with African-Americans on the drag race circuit. He’s good. And his car usually wins.

One day, Richard decides to ask Mildred to marry him, and they drive to D.C. to do the deed. Then they go back to their rural Virginia home and try to start a family. No politics. No ideology. No debates. Just love.

It’s a crucial strategy, because what eventually happens to them seems so far out of the norm of what’s right. They’re arrested and eventually told that they can’t live together as man and wife in the state of Virginia. So they move to D.C. and live there for a few years. But Mildred worries about her children not having any green space to play, and she pleads with Richard to move back home. She also writes a letter about her plight to then-Attorney General Robert Kennedy, who forwards the note to the American Civil Liberties Union.

Neither Richard nor Mildred is a firebrand. Each wants to live quietly and raise a family. But when push comes to shove, Mildred is more of a mover and shaker than Richard, thinking that their case might actually help other people in similar situations. The ACLU agrees, and the case goes to the Supreme Court, which issued a historic 1967 ruling that marriage was an inherent right.

As Nichols said after the screening, he wanted to tell the story, “to get to the heart of this,” by just focusing on the people, Richard and Mildred. He added that many political debates today seem to revolve around ideas rather than people — and that people are at the center of these stories.

“I wanted to make a movie about two people in love, not a courtroom drama,” he said. “This is the quiet film of the year, and I hope it makes people think.”

As Mildred, Negga is brilliant. She has an easy smile, an humble bearing, but also has resolve. As Richard, Edgerton tries to contain his emotions, do his work and be cautious about making any kind of statement other than he loves his wife.

Nichols pointed out that the Supreme Court can do only so much, and that such cases take a while to play out in the rest of the nation, in part because of fears.

He said he hopes “Loving” will at least remind folks that real people are at the center of all these debates, and that if we can understand them, then maybe we can accept our differences.

That seems like a simple message. Maybe “Loving” will figure into the awards season and continue the discussion later this year.

Austin’s Nichols, other U.S. directors crack Cannes 2016 lineup


Although the modest Austin director Jeff Nichols would probably downplay such talk, it’s rather apparent that the taste-makers of European cinema consider him the new American auteur. His latest movie, “Loving,” was formally selected for the official competition for the Palme d’Or on Thursday at this year’s Cannes Film Festival, which begins the second week of May.

Nichols’ “Midnight Special” was part of the official competition at this year’s Berlin Film Festival in February, and his 2012 movie, “Mud,” was selected for the Cannes official competition. What’s more, his 2011 movie, “Take Shelter,” won the top prize in the Cannes sidebar, Critics Week.

His latest, which focuses on the landmark civil rights case over an interracial marriage in Virginia in 1967, stars Joel Edgerton and Ruth Negga as the couple, with a supporting role for longtime Nichols collaborator Michael Shannon. In 1958, Richard and Mildred Loving were sentenced to prison for getting married, and the movie follows their case through the courts.

Nichols will be joined at the festival by many other high-profile English-language productions – a relative rarity for Cannes.

The biggest of those, by far, will be Steven Spielberg’s “The BFG,” which will screen outside of competition. It’s scheduled for wide release in the States in July, and the early screening in Cannes will surely launch a marketing campaign to make it one of this summer’s biggest box-office hits. Adapted from the Roald Dahl story about a Big Friendly Giant, It stars Rebecca Hall, Mark Rylance and Bill Hader.

Woody Allen’s “Café Society,” starring Jesse Eisenberg and Kristen Stewart, will open the festival outside of competition.

U.S. director Jim Jarmusch will have two movies at the festival: the competition film “Paterson,” about a blue-collar bus driver, played by Adam Driver, and a special midnight screening of his new Iggy Pop documentary, “Gimme Danger.”

Denmark’s Nicolas Winding Refn will bring another Los Angeles-filmed tale, “The Neon Demon,” to the competition. It stars Elle Fanning in a horror tale about a young model who is preyed upon by jealous rivals.

Sean Penn will also be screening his latest, “The Last Face,” in competition. It stars Charlize Theron and Javier Bardem as aid workers who fall in love while working in Liberia.

British director Andrea Arnold will also have a competition film, and it’s the first time she has filmed I n the United States. It’s called “American Honey,” and stars Shia Labeouf, Sasha Lane and Riley Keough in a tale about people who are traveling salesmen for magazines.

Jodie Foster, meanwhile, will screen her latest, “Money Monster,” outside of competition. It stars George Clooney as a TV financial adviser who’s taken hostage by an angry viewer who lost money in the market (Jack O’Connell). Julia Roberts plays a TV producer involved in the situation.

Austin Film Festival regular Shane Black will be screening “Nice Guys” out of competition, as well. It stars Russell Crowe and Ryan Gosling in a buddy/crime comedy.

Other notable screenings include “Elle,” from Paul Verhoeven (“Basic Instinct”), starring Isabelle Hupert in a home invasion thriller; “I, Daniel Blake,” from British director Ken Loach, dealing with a carpenter and single mother who are on welfare; “It’s Only the End of the World,” from Canadian director Xavier Dolan, about a writer who goes home and announces he’s dying, starring Marion Cotillard, Lea Seydoux and Vincent Cassel; “The Handmaiden,” from South Korea’s Park Chan-wook; “Julieta,” from Spain’s Pedro Almodovar; “Personal Shopper,” from Olivier Assayas and starring Kristen Stewart; and “The Unknown Girl,” from Jean-Pierre and Luc Dardenne.

In Un Certain Regard, U.S. director Matt Ross will screen “Captain Fantastic,” starring Viggo Mortensen as a father in the forests of the Pacific Northwest who has to move back to the city.

‘Loving’ from Jeff Nichols headed to Cannes

Ruth Negga and Joel Edgerton in "Loving." (Focus Features)
Ruth Negga and Joel Edgerton in “Loving.” (Focus Features)

Austin director Jeff Nichols is having quite a year. Variety is reporting that his new movie, “Loving,” will have its world premiere in Cannes in May, only a few months after “Midnight Special” had its world premiere in Berlin.

“Loving” stars Joel Edgerton, who was in “Midnight Special,” and Ruth Negga, who’ll be seen in AMC’s upcoming series “Preacher, as an interracial couple who were married in 1958, only to have their home state of Virginia jail them and then banish them. They decided to fight back and took Loving v. Virginia to the Supreme Court. As most people know, the court decided they had every right to be married.

Nichols wrote the screenplay as well, based in part of Nancy Buirski’s documentary “The Loving Story.”

Focus Features, the distributor of “Loving,” obviously has high hopes for the film. It will be released in the United States on Nov. 4, with a larger rollout on Nov. 11, positioning it as a prime contender for next year’s Oscars race.

Other U.S. titles slated for Cannes, which hasn’t yet announced its lineup, are expected to be Jodie Foster’s “Money Monster,” with George Clooney and Julia Roberts; Sean Penn’s “The Last Face,” starring Charlize Theron and Javier Bardem; and Woody Allen’s “Café Society,” with Kristen Stewart and Jesse Eisenberg. The presence of these titles in Cannes were first reported by Variety.