Film version of Bono memoir to premiere at Cannes

Cannes is a short trip from Bono’s seaside villa in Eze-sur-Mer. He bought it with The Edge in 1993, and considers himself grateful to a coastline that, he says, gave him a “delayed adolescence.” “I can tell you I’ve slept on beaches close to here,” Bono says with a grin. “I’ve woken up in the sun.” But that doesn’t mean the Cannes Film Festival is a particularly familiar experience for the U2 frontman. He’s here to premiere the Apple TV+ documentary “Bono: Stories of Surrender,” which captures his one-man stage show. Before coming, Bono’s daughter, the actor Eve Hewson, gave him some advice.

“She said: ‘Just get over yourself and bring it,’” Bono said in an interview on a hotel off the Croisette. “What do I have to bring? Bring yourself and your gratitude that you’re a musician and they’re allowing you into a festival that celebrates actors and storytellers of a different kind. I said, ‘OK, I’ll try to bring it.’”

“Bono: Stories of Surrender,” an Andrew Dominik-directed black-and-white film that begins streaming May 30, adapts the one-man stage show that, in turn, came from Bono’s 2022 book, “Surrender: 40 Songs, One Story.”

In the film, Bono is self-effacing and reflective, sifting through the formative influence of his father, U2’s skyrocketing to fame and considering how ego and social work might be related. He calls it “the tall tales of a short rock star.” And as was the case on a recent sunny afternoon in Cannes, Bono makes a captivating raconteur.

You’ve long maintained that globalization lifts developing nations out of poverty. What do you make of the shift away from globalization by many countries recently?

Well, that’s right. Globalization did very well for the world’s poor. That and increased aid levels brought a billion people out of extreme poverty and halved childhood mortality — remarkable jumps for quality of life for human beings. But it’s also fair to say certain communities really paid the price for that — here in Europe, in the United States. And I’m not sure those communities were credited enough for weathering storms that globalization brought. So I understand how we got to this place, but it doesn’t mean that it’s the right place to be in. Nationalism is not what we need. We grew up in a very charged atmosphere in Ireland. It makes you suspicious of nationalism and those animal spirits that can be drummed up. This is me speaking about surrender, “Stories of Surrender,” at a time when the world has never been closer to a world war in my lifetime.

Do you have any sense yet of Pope Leo XIV?

The new pope, he does look like a pope. That’s a good start. I just saw the other day his first piece and he was talking about stopping shouting, God might prefer whispers. I thought, “Oh, this could be interesting.” I’m more of a shouter myself. I come from punk rock. But I’m learning to turn that shout into a whisper in this film to get to an intimacy.

You’ve spent the last five years in some state of self analysis. First the book, then the stage show, now the film. Why?

Mission creep. I knew I had to write the book. The play was so I didn’t have to tour the book in normal promotional activity, that I could actually have fun with it and play all the different characters in my life. I thought it was really good fun. Then I realized: Oh, there’s parts of you that people don’t know about. We don’t go to U2 shows for belly laughs. But that’s a part of who I am, which is the mischief as well as the melancholy. Then you end up doing a play with a lot of cameras in the way.

Associated Press