Cannes President Iris Knobloch on Female Directors Gaining Ground, Festival's ‘Netflix Rule,' Relationship With U.S. Industry and Trump's Proposed Tariffs on Foreign Films

Yahoo

13-05-2025

Re-elected for a second mandate earlier this year, Cannes Film Festival President Iris Knobloch is kicking off the 78th edition in high spirits. Her arrival at the helm of the festival two years ago has coincided with Cannes' renaissance and closer-than-even bonds with Hollywood. Curated by longtime artistic director and general delegate Thierry Fremaux, last year's selection premiered a record number of Oscar nominations with movies such as Sean Baker's 'Anora,' which made history by winning four major statuettes including best picture and best director; as well as Coralie Fargeat's 'The Substance,' Jacques Audiard's 'Emilia Perez' and Gints Zilbalodis's 'Flow.' A year prior, Cannes was also behind two best picture nominees, Justine Triet's 'Anatomy of a Fall' and Jonathan Glazer's 'The Zone of Interest.' In an interview with Variety on the eve of the festival's kick off, the hands-on Knobloch, who previously headed Warner Bros. in Europe, joyfully spoke about the rise of female talent at Cannes and within the film world (which Cannes has supported through the launch of the Kering's Women in Motion program 10 years ago); as well as took a stance on U.S. President Donald Trump's proposed 100% tariffs on foreign-made films; and the current tensions between American and European film industries; and the role of Cannes to unite people and culture through movies at a time of geo-political turmoils; as well as keeping the red carpet a protest-free zone. The 78th edition of the Cannes Film Festival kicks off this evening with Amelie Bonnin's feature debut 'Leave One Day,' and will include a honorary tribute to Robert De Niro from the hands of Leonardo DiCaprio.
This year, the four juries are presided over by women and Juliette Binoche is also the second female president in a row, following Greta Gerwig last year. Are you in any way responsible for this female focus?
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I hope that my presence can contribute to the festival's ongoing evolution. All our juries are now gender-balanced, and this year, each of the four is chaired by a woman. We uphold parity wherever we have direct influence. It is essential that women's perspectives are fully represented and that they have the space to share their vision of the world. Without that, it would be like telling the story of the world with one eye closed. Gender parity remains a priority we share with the Festival's General Delegate, Thierry Frémaux, and it carries deep personal significance for me.
And there are also seven female women directors in competition, that's a tie-in with 2023!
Yes and these seven by female filmmakers playing in competition represent one third of the selected films. This aligns closely with the overall submissions: women directed 28% of the films submitted, and they account for 25.1% of the Official Selection. We can only select from what is submitted to us but what's especially encouraging is that the proportion of female-directed films is even higher among short films and first features. It's a very positive trend, but one that requires continued vigilance to ensure it doesn't stall. I also sense a growing confidence and boldness among female filmmakers and, just as importantly, a greater willingness to entrust them with ambitious projects. More women are submitting films, and what strikes me is the fortunate sequence of events: Justine Triet's Palme d'Or win, which shone a global spotlight on female directors, followed by Coralie Fargeat's breakthrough success after last year's edition.
Do you see any common themes among films directed by women and are you also seeing more films with female protagonists?
If you look at the 2024 selection, a significant number of films explored the condition of women around the world. 'The Substance' examined the portrayal of women's bodies in the entertainment industry. 'Anora' told the story of a woman's dream of emancipation. 'Emilia Pérez' was driven by bold, complex female characters. And Rasoulof's film powerfully denounced the violent repression faced by women in Iran. This clearly shows how the festival reflects the world we live in. And what's particularly interesting is that these themes were explored by both male and female filmmakers—proving that the fight for women's voices and stories belongs to all of us.
The geopolitical context is extremely tense right now. Do you this this will be a politically charged edition?
The festival is always engaged with the films it selects, each one offering a distinct lens on today's world. The Cannes Film Festival's strength is that it selects films from all over the world. This year, films from more than 40 countries are represented, allowing us to view the world through a rich diversity of perspectives, stories, and cultures. Our role at the festival is to offer these filmmakers the opportunity to be seen, to be heard, and above all, to be free in their expression. Their voices are not to be exploited but respected for their authenticity. That, to me, is the essence and beauty of cinema: its power to illuminate struggles for freedom, expose oppression, and celebrate cultural diversity. It is this creative independence that we must continue to protect—and that remains one of the festival's most vital missions.
What about Israeli films? Nadav Lapid's 'Yes' is premiering at Directors' Fortnight. Are there any Israeli movies playing in the Official Selection? Yes, the Israeli film 'Mama' by Or Sinai will be presented this year at the festival as part of the Official Selection. Again, more than 40 countries are represented this year through the selected films.
You made a nice speech at the press conference announcing the lineup, in which you spoke about the importance of cinema today. What is it a topic you care so much about?
Because today, the world seems to be losing its ability to respect differing opinions and engage in meaningful discussion and that is something cinema can help restore. The role of cinema is to create shared dreams in a world that is, unfortunately, increasingly tempted by isolationism. Cinema speaks a universal language and addresses a wide range of subjects. It has the power to travel across borders and convey meaningful messages. That's why cinema and film festivals have a crucial role to play in fostering dialogue. I hope this year's festival will offer films that make us think, reflect, and discover diverse perspectives on the world.
Speaking of isolationism, what do you think of U.S. President Trump's declaration on potentially taxing movies made outside of the U.S.?
At this stage, it's still too early to gauge the potential impact of these announcements. However, I sincerely hope the global film industry won't be paralyzed by caution or uncertainty. The sector is still recovering from the profound disruptions caused by the pandemic, labor strikes, and more recently, the wildfires in Los Angeles. I hope that a balanced, thoughtful approach—one that respects and preserves the diverse ecosystems that make up the cinematic world—can help us build a healthier, more resilient industry. Cinema thrives when it inspires. And right now, the world needs cinema to remain a truly global art form. That is something we deeply believe in at Cannes. Any system, in my view, should encourage cooperation—not competition at the expense of others.
As you will soon start a second mandate at the helm of the festival, are you planning to change the status? Right now, we're finalizing a change to our bylaws which ensure a gender-balanced tandem representing each professional organisation on our board. Aside from that, we don't have any other changes planned for the time being.
So no change to the so-called 'Netflix rule' which applies to every movie competing and requires them to have a theatrical release in France?
As you know, streaming platforms are welcome at the Cannes Film Festival. This year, Apple is present with Spike Lee's new film, as well as a documentary about Bono. The festival's rule remains clear: to be eligible for competition, a film requires a theatrical release in France. I am convinced that we've now reached a stage where cinemas and streaming platforms can coexist harmoniously. A theatrical release allows a film to become a true cultural event — something that sparks conversation, debate, and shared experience. That's something only the cinema can offer. At the same time, platforms play a vital role in accessibility. After a film's theatrical run, they help it reach a far broader audience across the globe. I don't believe cinema will replace platforms, or that platforms will replace cinema. What we're witnessing is an industry in transformation. Studios are once again investing in theatrical releases, while platforms are evolving too — testing new strategies, adapting, and expanding their creative horizons.
You previously headed Warner Bros. in Europe. How important is it for you to keep Cannes as an ally to theaters?
It is essential to have strong convictions and a clear identity — and the Cannes Film Festival embodies both. We celebrate cinema from around the world, with a particular focus on films made for theatrical release.
Were you chocked to see U.S. guilds attacking the French system which requires streamers to invest a portion of their revenues in local content and also sets strict windowing rules that Netflix and Amazon have recently appealed to the Council of State?
It's a system that has proven its resilience. Just look at how well cinemas are performing in France — it's truly remarkable. Of course, every system must evolve, but that evolution should happen through dialogue with all stakeholders and in a way that preserves the right balance. The world is changing, and so must we — thoughtfully and together.
After two back-to-back, edition, do you feel that the image of Cannes has been emboldened more than ever?
It's true that the past two years have been remarkable. Above all, the Cannes Film Festival is an extraordinary launchpad for films that, without Cannes, might never have reached beyond their national borders. 'Anora,' for example, may never have found such a wide audience without being selected — and the same goes for 'The Substance' and many others. Today, it's difficult for independent films to gain that kind of visibility, and Cannes makes it possible. 'Anora' then went on to win awards all the way from the Golden Globes to the Oscars — which was a joy to witness. There's no rule that awards season begins in September. A great film remains great, no matter when it's released. And Cannes offers an exceptional platform for precisely that kind of cinema.
Are you banning protests this year? We saw some people getting thrown out of the red carpet last year.
Cannes has always been — and will always remain — a place of free expression. It was founded in direct opposition to fascism and the suppression of speech. That spirit of artistic freedom is part of its DNA.That said, the festival itself does not take political positions. It is the artists and the films who carry the messages, each in their own voice. On the red carpet, our priority is to keep the spotlight on films and those who make them. That is the festival's core mission — and it is our responsibility to protect it.
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