Opening films at the Cannes Film Festival are rarely all that good. In recent years, Jim Jarmusch’s The Dead Don’t Die, Michel Hazanavicius’ Final Cut and Maïwenn’s Jeanne Du Barry singularly failed to raise pulses, and the opening gala slot has increasingly felt like a way for critics to get warmed up by getting some early venom-spitting out of the way before the Competition starts off in earnest. Now, with the backdrop of war, possible #MeToo scandals, strikes, one of the Competition directors fleeing his home country to avoid prison time, and the festival’s artistic director Thierry Frémaux…