Roman Polanski’s latest comedy, The Palace, is slated for a November 23 release in theatres, featuring a star-powered lineup that includes Alexander Petrov, Mickey Rourke, Fanny Ardant, Oliver Masucci, and John Cleese. The distribution company Pro:Vzglyad confirmed the date for the Russian market, and industry watchers are abuzz about what this film signals in Polanski’s expansive career that spans decades and continents. The anticipation is not merely about a new film from a legendary director but about the way this project might reinterpret luxury, fame, and social performance through a distinctly Polanski lens.
Polanski has explained that The Palace endured extended development, with delays rooted in a mix of personal and professional considerations. He emphasizes that the pacing of the project was never about a lack of vision; rather, it reflected a constellation of circumstances that kept the project on hold until the timing aligned with the right moment. In discussing the film, Polanski frames timing as a crucial factor in creative work, suggesting opportunities arrive rarely and deserve careful, deliberate pursuit when they appear. [Insight: Polanski interview materials]
Set on the eve of December 31, 1999, inside a luxury Swiss hotel, The Palace follows a gathering of affluent guests as they prepare to welcome a long-awaited New Year. The film promises a satirical portrait of wealth, excess, and appetite, painting a night charged with mischief and the eccentricities of those living in the public gaze. Viewers are invited into a world where glamour often clashes with tension, as celebrations teeter between exuberance and chaos in a social environment that prides itself on appearances. [Film press notes]
The initial glimpse of the project arrived in a trailer shared on Alexander Petrov’s social media channels. Early reviews point to a visual sensibility reminiscent of Wes Anderson, with whimsical symmetry and carefully arranged set pieces that evoke a modern fairy-tale atmosphere akin to The Grand Budapest Hotel. Petrov has described the experience as a remarkable adventure, highlighting the international cast and the vibrant energy fueling production. [Trailer release notes]
During filming, Petrov recalled Polanski’s authoritative yet collaborative leadership, noting how the director fluidly moved among languages on set. The crew shifted between English, French, Polish, and back to English with apparent ease, a reflection of the director’s linguistic versatility and a unified vision that sustained high performance across the ensemble. Petrov expressed deep respect for Polanski, describing the filmmaker’s method as a form of education that bridges language barriers and fosters a dynamic, cooperative atmosphere on set. [On-set reflections]
The Palace had its world premiere at the Venice Film Festival in 2023, signaling a significant milestone in its journey from concept to global stage. The festival screening underscored the project’s status as a bold artistic undertaking within Polanski’s ongoing body of work. The reception at Venice contributed to broader conversations about tonal direction, thematic concerns, and the performance dynamics among a diverse cast drawn from multiple cinematic traditions. [Venice 2023 coverage]
In broader discussions around the production, Alexandre Petrov has spoken publicly about the film’s development and his collaboration with an esteemed director. As audiences await December 1999’s luminous, satirical silhouette, The Palace invites viewers to consider how celebration can reveal deeper truths about wealth, power, and social performance. The film’s trajectory reflects a persistent interest in how international film talent unites to create a mosaic of cultural impulses, humor, and human foibles that resonate across borders. [Production interviews]