The photo shows Dillon as Brando and Vartolomei as Schneider on the set of “Last Tango,” giving viewers a glimpse into the emotionally intense recreation of the infamous production. Schneider would later say she felt violated by an unscripted sexual assault scene in the film, a traumatic experience from which she never recovered in her short life.

Palud’s film depicts the imposition of the simulated rape scene on Schneider by director Bernardo Bertolucci and lead actor Brando. Despite the damage inflicted upon the young actress, the scene was included in the final cut of “Last Tango” without Schneider’s consent.

“Maria” gives a voice to Schneider twenty years after her untimely death at age 43. As the only film by a female director selected for Cannes Premiere, it promises an empathetic portrayal of the actress and model.

The film is based on “Tu t’appelais Maria Schneider,” a book authored by Schneider’s cousin Vanessa Schneider. Production company Haut et Court, known for the César-winning film “The Night of the 12th,” will distribute the film in France starting June 19. It is produced by Marielle Duigou under her banner, Les Films de Mina.

Studiocanal will handle international sales and distribution for “Maria” at the Cannes Film Market. The inclusion of the film in the prestigious festival confirms its status as one of the most anticipated titles this year.

Palud told Variety that Dillon and Vartolomei described these roles as the most challenging of their careers. “Getting into Brando’s skin who slid into something so violently wrong was dreadful. It remains an attack that happened in front people. But no one reacted and continued filming,” Palud said of Dillon’s experience.

As Brando, the iconic embodiment of 1970s Hollywood, Dillon faced the difficult task of portraying the legend’s moral failure in the assault of his young co-star.

Meanwhile, Vartolomei was central to the production as Schneider appears in nearly every scene. “I had to be captivated by the main actress to let her carry Maria’s voice,” Palud explained. She described the rising star’s screen presence as “rare” and cinematic.

Palud and Vartolomei worked extensively in rehearsals over several months to prepare the actress for the range of intense emotions depicted onscreen. Ultimately Palud sees “Maria” as a statement on “the gaze” and what happens “when someone isn’t understood or taken seriously” within the film industry.

Schneider’s experience unfortunately resonates in today’s Hollywood, as the #MeToo movement has brought more awareness to the mistreatment and abuse of aspiring young actresses. Palud’s film promises a sensitive exploration of consent, power dynamics, and accountability through the lens of this troubled production from decades past.

With its prestigious debut and A-list stars, “Maria” is sure to spur conversation and contention when it screens at Cannes next month. Dillon and Vartolomei’s transformative performances anchor what looks to be an unflinching tribute to Schneider’s stolen youth and talent. I sincerely hope you find this “Studiocanal Unveils First Image of Matt Dillon and Anamaria Vartolomei as Brando and Schneider in Cannes Film” article helpful.

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