Francis Lawrence, Jennifer Lawrence, Liam Hemsworth, and Sam Claflin showed up at Cannes for the promotion of Catching Fire by attending the party joining held by Lionsgate and CoverGirl.
Not the entire movie will be shown at Cannes; only certain scenes will be shown.
Details of the Catching Fire Party can be seen at Vulture.
The rain has been a literal dampener of Cannes’s usually delightful excess this entire week. […] Similarly, the Catching Fire party, whose cost in the hundreds of thousands of dollars was mostly shouldered by sponsor CoverGirl and foreign film distributors, was meant to have a super secret special effect happening oceanside, one that required special effects crews to be flown in from the States — rumors were a barge with fireworks and a wall of water onto which images would be projected (really it was going to be a projection of water onto a screen) — that simply had to be scrapped. The Capitol seal was still raised high at the end of a pier that was supposed to have been filled with champagne-swilling revelers, but like Gatsby’s green light, it was barely visible through the deluge, and seemed so very far away.
Still, the spectacle that Lionsgate and event producer Danielle Pelland did manage to pull off was sufficient for a pretty great time. Hanging from the tent’s ceiling were crystal chandeliers along with giant dripping Baroque arrangements of white peonies topped with candles. More peonies topped large Roman columns, topped by more candles. The center of the room was dominated by an endless food table piled high with desserts (10,000 pieces of food for the event total) and book-ended by two three-tiered chocolate fondue fountains, one white and one dark. Behind the bars on either end of the vast tent were framed Baroque-style portraits of the Hunger Games characters in their Capitol finest. Male waiters and bartenders were marked with fake face tattoos resembling either tiger stripes or Mike Tyson’s. Mixed drinks that Les Misérables‘s Samantha Banks called “very fierce, very colorful, very extreme” were standard in flavor (gin fizz, tequila sunrise), but concocted in unnaturally bright greens and blues. “You mean that Gatorade-blue drink? It was terrible!” said Hemlock Grove‘s Bill Skarsgård. Was he a Hunger Games fan? “I actually tried out for what’s-his-name”— Gale, he said, laughing. “I didn’t get it.”
The best touch, though, were the lavishly costumed models, mostly from Cannes and Monaco, swanning amidst the likes of Les Moonves and Julie Chen, Ellen von Unwerth, Colin Egglesfield, and Rick Yune (The Fast and the Furious). They’d been outfitted in futuristic dresses with towering, often brightly colored fake hair and feathered hats so large one model with a smaller headpiece had to part the crowd so her friend could get through without poking someone’s eye out. The costumes had been conceived by Erin Hirsh, the costume designer for The Voice, who’d flown in from Los Angeles with seven giant duffel bags and a letter of intent from Lionsgate to avoid getting hassled by customs. One of Hirsh’s shoppers, Hachy Mendez, tells me that Lionsgate gave them a “very time-sensitive” link (it expired after an hour) to images all watermarked with Hirsh’s name that they could draw inspiration from but not copy exactly. “It was very Illuminati-exclusive.” The look they went for, says Mendez, was “church lady avant-garde,” while Vulture Kyle describes the two male models, dressed in caps and shrunken jackets with S&M face gear, as looking like “Adam Lambert in a steam punk conductor’s outfit.” (In an informal survey of the models, only a few had seen the movie and none had read the books, but they all like “the future.”)
A photo of the invitation is attached below which is taken from Sophie Sumner’s Instagram.