Women don't always have to be the good guys: Natalie Portman

A darker side of female sexuality was on display in Cannes on Saturday in a film portraying a woman who seduced a schoolboy and built a picture-perfect life with him after a tabloid scandal.

Starring Julianne Moore and Natalie Portman, May December takes the viewer on a rollercoaster of moral ambiguity as it looks at the couple living a life of apparent suburban bliss with their children long after they dominated headlines.

Portman takes the role of Elizabeth, an actor who spends time with the family in order to research a role playing the woman at the heart of the scandal, Gracie, played by Julianne Moore, 62.

Portman -- whose character also takes questionable decisions -- said in an interview Saturday that she loved to see the women "behave in morally ambiguous ways."

"The entire range of human behaviour should be accessible to women because women are simply humans," she said.

"It always drives me crazy when people are like, oh, if only women rule the world, it would be a kinder place. No, women are humans and come in all different complexities."

Portman shot to stardom at age 12 in Leon, a film by French director Luc Besson which led her to be sexualised as a child, and towards which she has said she now has complicated feelings.

The film was inspired by Besson's relationship with French actress and director Maiwenn, who he married at 16. Maiwenn starred in and directed Jeanne du Barry, alongside Johnny Depp, which caused a scandal as it opened Cannes this year.

Besson, who directed The Fifth Element, has faced several allegations of sexual misconduct, a revelation Portman said she had found "devastating," without wanting to give more details.

Denial

May December is among several films at Cannes this year taking a deeper dive into the inner lives of women, exploration of their sexuality, or their moral complexities.

"I think that there is no limit to how much it can be explored, so I'd like to see more," said Portman.

He said it was getting "harder and harder to make those kinds of films" with society no longer "comfortable with being uncomfortable. I think that's like the death of thinking, the death of social critique and criticism".