The Cannes premiere of Paper Tiger on May 16, 2026, drew attention not only for its reception but for one notable absence. While co-stars Adam Driver and Miles Teller walked the red carpet and joined director James Gray for the post-screening applause, Scarlett Johansson was not in the South of France. The screening earned a roughly seven-minute standing ovation, and Gray attempted to include Johansson remotely by calling her on FaceTime—an attempt that went unanswered.
Johansson’s absence had a straightforward cause: she was engaged on set filming The Exorcist reboot. With production taking place thousands of miles from Cannes and a significant time difference from Los Angeles, the director’s call may have reached her at an inconvenient hour. Inside the Grand Palais, Gray humorously held up his phone when the call failed to connect, sharing the moment with a crowd that had just honored the film with prolonged cheers.
How the night unfolded at Cannes
After the credits rolled on Paper Tiger, the theater erupted in sustained applause that lasted about seven minutes. Onstage, Gray gave the spotlight to his leads—Driver and Teller—who fielded applause, autographs and selfies with enthusiastic festivalgoers. The director used the moment to speak about the state of cinema, urging attendees to support theatrical work and independent film. Gray’s gestures toward his actors and animated presence reinforced the communal nature of festival screenings and the way such events can elevate a film’s profile.
Why Johansson couldn’t attend
The primary reason Johansson did not attend the screening was professional obligation: she was filming the new iteration of The Exorcist. The production schedule made travel to Cannes impractical, and time zones worked against a live participation—Los Angeles is several hours behind the Croisette, creating a likely early-morning call for Johansson when Gray tried to connect. Although she was not physically present, the actress engaged with press about her role later, signaling continued support for the project despite the distance.
Director’s reaction and public moments
When Gray’s FaceTime went unanswered, he waved his phone with a mix of playfulness and exasperation. The anecdote became one of the evening’s lighter moments amid the serious business of competition screenings. Gray also reflected on his long relationship with Cannes—this being his sixth film on the Croisette—reminding the audience of his history at the festival and the emotional ties that draw filmmakers back to the Grande Salle.
The film, performances and industry context
Paper Tiger is set in the 1980s and centers on two brothers, Irwin and Gary Pearl, whose get-rich ambitions entangle them with the Russian mob after a scheme goes wrong. Miles Teller plays Irwin, a prone-to-trouble family man, while Adam Driver portrays Gary, an ex-cop trying to rescue his brother from escalating danger. Neon acquired domestic rights and will shepherd the film’s U.S. release, adding another high-profile title to its slate as Cannes continues to favor auteur-driven fare over studio blockbusters this season.
Critical response and festival landscape
Early reviews were a mix of praise and reservation. Some critics highlighted James Gray as a director who remains stylistically consistent and emotionally resonant, while others pointed to flaws in the screenplay that tempered enthusiasm. One prominent review described the film as constructed to feel powerful, yet occasionally undermined by narrative gaps. Still, the lengthy standing ovation indicated strong audience engagement at Cannes, where attention to craft and filmmaker pedigree often outweighs commercial considerations.
Johansson’s perspective on her role
Although absent from the premiere, Johansson spoke about her character, Hester, in interviews, describing a woman who combines outward grace with inner strength. She emphasized that Hester’s love of fashion, films and romantic moments is part of how the character presents herself to the world, even as she navigates complex personal ambitions. Johansson framed the role as one of vivacity and longing, suggesting that Hester’s apparent softness conceals a resolute center—a reading that aligns with the film’s tonal blend of intimacy and menace.
In short, the Cannes evening became a snapshot of modern festival life: a celebrated screening, a director’s theatrical flourish, visiting stars who could attend in person, and a leading actor who contributed from afar due to other commitments. The missed FaceTime captured the way global film production and festival calendars intersect, sometimes awkwardly, but rarely without headline-making moments.
