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Forbes
12-05-2025
- Entertainment
- Forbes
Cannes Film Festival 2025: How To Get The Most Out Of It
c s After 78 years, the Cannes Film Festival (Festival de Cannes) continues to dazzle with its glamor, glitz and surprises, showcasing the best of cinema from around the world and rewarding the best films with the Palme d'Or, the Grand Prix, the Prix du Jury and many other distinctions. The famous event, one not to be missed for cinema professionals and lovers of the 7th art as well as for those wanting to see and be seen, is well under way from May 13 to 24, 2025, at Cannes' Palais des Festivals et des Congrès on the Croisette, a long boulevard that stretches for some two kilometers along the shore of the Mediterranean Sea. The legendary venue has been retrofitted this year to offer 2,309 seats at the Louis Lumière auditorium, making it Europe's largest cinema equipped with Dolby Atmos immersive sound technology that features a staggering 128 permanent speakers, 20 ceiling speakers, 5 kilometers of cables and 29 amplifiers. Follow the complete program here. For the Opening Ceremony day on Tuesday, May 13, the Festival and its official partners -- the Cannes Mayor Office, France Télévisions and Brut -- is presenting the exceptional screenings of three films dedicated to the War in Ukraine. This 'Ukraine Day' is 'a reminder of the commitment of artists, authors and journalists to tell the story of this conflict in the heart of Europe, which has been affecting the Ukrainian people and the world for three years now and a commitment to give voice to those who bear witness to contemporary realities and stand up for the truth,' the Festival explains. This year's 78th Cannes Film Festival, with actress Juliette Binoche as president of the jury, is the first in nearly 60 years to feature the competition jury chaired by a woman for two consecutive years. Binoche joins the short list of female French actors who have occupied the main jury chair in the past including Jeanne Moreau, Michèle Morgan, Isabelle Adjani and Isabelle Huppert. In fact, there are seven new films directed by women in the main competition, alongside the out-of-competition 'Leave One Day,' a crowd-pleasing musical directed by Amélie Bonnin, the first ever premiere to open Cannes. Among the featured female films this year are: Lynne Ramsay's 'Die My Love," Kelly Reichardt's 'The Mastermind,' Julia Ducournau's 'Alpha,' Mascha Schilinski's 'Sound of Falling' (previously titled 'The Doctor Says I'll Be Alright, But I'm Feelin' Blue'), Hafsia Herzi 's 'La Petite Dernière,' Chie Hayakawa's 'Renoir' and Carla Simón's 'Romeria.' Added to those illustrious names are other first-time directors with films premiering at Cannes' prestigious sidebar Un Certain Regard prize: Scarlett Johansson, with 'Eleanor the Great' which The Guardian has declared as 'perhaps the one with the strongest commercial prospects, having already sold to Sony Pictures and now drumming up Oscar buzz for its star, June Squibb, who plays an elderly woman who relocates from Florida to New York.' Johansson also stars this year in a film in the main competition , Wes Anderson's 'The Phoenician Scheme.' Kristen Stewart is also making her directorial debut with 'The Chronology of Water,' an adaptation of Lidia Yuknavitch's traumatic memoir, Zelensky by Yves Jeuland, Lisa Vapné and Ariane Chemin (France 2025), Notre Guerre, directed by Bernard-Henri Lévy and Marc Roussel (France-Ukraine 2025) and 2000 Meters to Andriivka by Mstyslav Chernov (Ukraine-USA, 2025) Despite its 'untamed' fame and its yearly reinventions, Cannes traditionally pays tribute to the classics, starting with the choice of presenting for the first time in its history a double official poster of the movie A Man and a Woman showing actors Anouk Aimée and Jean-Louis Trintignant in the legendary movie that under director Claude Lelouch's camera won the Palme d'Or in 1966, two Academy Awards in 1967 and dozens of prizes around the world. With that embrace, considered one of the most famous in the 7th art, the Cannes Festival explained that it wants 'to (re)unite; to bring bodies, hearts and souls closer together; to encourage freedom and portray movement in order to perpetuate it; to embody the whirlwind of life to celebrate it, again and again,' during times that 'seem to want to separate, compartmentalize or subjugate.' In the 'classics' lane, the list to grace the festival screens is rich with gems including Charlie Chaplin's centenary The Gold Rush, appearing in a pre-opening on May 13, the 25th anniversary of Amores Perros by Alejandro G. Iñárritu, a tribute to Edward Yang with the restored print of Yi-Yi, the 90th anniversary of Merlusse by Marcel Pagnol, the half-centenary of One Flew Over the Cuckoo's Nest, rare films from Colombia and Iraq, Sri Lanka's first female director, Jayne Mansfield through her daughter actress Mariska Hargitay, Satyajit Ray by Wes Anderson thanks to Martin Scorsese's The Film Foundation, the Argentinian film, Más Allá del Olvido which, according to the Festival 'makes you wonder if Alfred Hitchcock might have been inspired by it for Vertigo,' and Barry Lyndon as the closing film. The main program of the Festival is by invitation only, but in addition to the Official Selection, there are several parallel sections spotlighting emerging talent and different films, such as the Quinzaine des Cinéastes, Semaine de la Critique and ACID. For tourists and the general public there is also the glitz and spectacle of the red carpets' entrance and exit of celebrities and film stars as well as the appearance of celebrities at previews and gala evenings. 'Photographers and fans gather on the Croisette to immortalize these glamorous moments and share in the excitement of the festival,' Sortir à Paris reports. Running alongside the main events of the 78th edition of the Festival, a tradition returns this year that's open to all comers, welcoming film buffs and casual visitors alike for free screenings that span world cinema classics, premieres and restored jewels by the beach. Every day at 9:30 pm, the Festival reinvents itself as night falls, transforming the Croisette's Plage Macé, opposite the Hotel Majestic, into an open-air cinema under the stars. From Japanese animation to Hollywood noir and European arthouse — all to be savored under the Cannes night sky. In addition to the screenings, meetings and Official Selection events held at the Palais des Festivals, it's another way for everyone to get involved to the great cinema party. "The program for the 78th Festival will include: film teams on stage, premieres and world cinema classics. From Hong Kong action to Italian intimism, from Japanese animation to Hollywood classics, embark on a cinephile's world tour that concludes with Any Number Can Win…on the sands of Cannes," the organizers invite. Opening the program on May 13 is Terrence Malick's A Hidden Life, followed by a newly restored 4K version of John Woo's Hard Boiled on May 14, presented by Shout! Studios. French cinema gets a spotlight with Les Mauvais Coups on May 15. The grand 1946 epic Duel in the Sun, restored with support from The Film Foundation thanks to Martin Scorsese and Steven Spielberg, will be featured on May 16. May 17 brings a Cannes original: The Legend of the Palme d'Or Continues, a new documentary by Alexis Veller, followed by Billy Wilder's classic Sunset Blvd in a meticulous 4K restoration. Here is the complete 'Cinema de la Plage' program. Before each screening of the Cannes Film Festival By the Beach program, audiences can enjoy eclectic musical warm-up numbers by TwinSelecter, a DJ duo spinning a mix of funk, soul, disco, jazz, and more to set the mood for the cinematic evenings.
Mint
12-05-2025
- Entertainment
- Mint
Cannes red carpet crackdown: ‘Nudity' and ‘naked dresses' banned for ‘decency reasons', celebs told to keep it classy
The Cannes Film Festival has officially banned nudity on the red carpet, citing rising concerns over the celebrity trend of 'naked dresses.' Organisers warned that guests who do not comply with the updated dress code could be turned away from the prestigious event, which begins Tuesday (May 13) on the French Riviera. 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival,' a Cannes document states, marking a notable shift from previous years. The festival's new 'charter for festival-goers' lays out the updated rules and warns: 'The Festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' The official document of the Cannes Film Festival states, 'For the Grand Théâtre Lumière gala screenings taking place around 7 and 10 p.m., which are attended by the artistic teams, evening wear (long dress, tuxedo) is required. Alternatively, you may also wear "a little black dress" a cocktail dress, a dark-colored pantsuit, a dressy top with black pants; elegant shoes and sandals with or without a heel (no sneakers); a black or navy-blue suit with bow-tie or dark-colored tie. Tote-bags, backpacks or large bags are prohibited during gala screenings." "Voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater are not permitted. The Festival welcoming teams will be obligated to prohibit Red Carpet access to anyone not respecting these rules," the document also states. The move comes in response to a growing number of celebrities wearing increasingly revealing outfits that emphasise body exposure over traditional couture. Recent high-profile examples include Halle Berry's sheer gown at the Met Gala in New York and Bella Hadid's braless appearance in a transparent brown dress in 2024. In addition to banning nudity, the festival's long-standing dress code remains in place for gala screenings at the Grand Théâtre Lumière. Guests attending the evening premieres at 7 p.m. and 10 p.m. must wear formal attire. That includes 'long dresses, tuxedos, cocktail dresses, dark-colored pantsuits, dressy tops with black pants, elegant shoes and sandals with or without a heel.' The festival explicitly prohibits sneakers, large bags, backpacks, and now, voluminous dresses. The updated guidelines also ban 'voluminous outfits, in particular those with a large train,' citing logistical concerns. Organisers say such garments 'hinder the proper flow of traffic of guests and complicate seating in the theater.' Although the red carpet is televised by outlets such as France Télévisions, it's unclear whether concerns about broadcasting partial nudity influenced the decision. Still, the ban sends a clear message: Cannes wants the focus back on film, not flesh. As the festival prepares to welcome Hollywood's biggest names, all eyes will be on the red carpet — and what guests choose not to wear.
Telegraph
12-05-2025
- Entertainment
- Telegraph
Cannes to ban see-through dresses in red carpet nudity crackdown
Cannes Film Festival has banned nudity on the red carpet over a celebrity craze for 'the naked dress'. Organisers of the festival on the French Riviera have threatened to refuse entry to VIP guests who do not cover up. Nudity rules have been added to the dress code for the glamorous event, which begins on Tuesday and will be attended by a host of Hollywood stars. Festival organisers said the move had been made in the interests of 'decency' following the increasing use of red carpets to show off risqué 'naked dresses', which typically show off the wearer more than the couture. Halle Berry wore a sheer gown at the Met Gala in New York this month that revealed her body between sequinned black panelling, while Bella Hadid, the model, went braless in a sheer brown dress in 2024. World-famous stars of their calibre often grace the Cannes red carpet in front of the Grand Théâtre Lumière, where the highest-profile films premiere. Cannes stated in a festival document: 'For decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival.' The rules add: 'The festival welcoming teams will be obligated to prohibit red carpet access to anyone not respecting these rules.' This prohibition was not stated in previous years, and has been included in a 'festival-goers' charter' outlining expected behaviour. Red carpets are shown on TV by companies including France's national broadcaster, France Télévisions, although it is not known whether the risk of airing nudity played a role in deciding on the ban. The dress code for red carpet events before Théâtre Lumière screenings requires dinner jackets and long dresses. A 'little black dress' is also permitted, or a 'cocktail dress, a dark-coloured pant suit, a dressy top with black pants; elegant shoes and sandals with or without a heel'. In addition to banning nudity, Cannes has also prohibited 'voluminous dresses' with large trains. This is for practical reasons, as billowing gowns 'hinder the proper flow of traffic of guests and complicate seating'. It is not yet clear whether Cannes bosses will waive the nudity regulations for the A-list guests attending the festival and helping to promote their latest films. The festival has a recent history of flouting its own rules, particularly when VIPs are involved. In 2021, Cannes banned personal contact as part of its Covid guidelines, including 'la bise', the customary French peck on each cheek. However, on the first red carpet of the event, Pierre Lescure, the festival president at the time, greeted guests including Carla Bruni and Jessica Chastain with the customary 'bisous'. Masks were also made obligatory at Cannes, and standing and mingling over cocktails was banned in the Riviera resort, but guests were spotted without face coverings and many parties continued as they had before. The festival has also set out a number of stringent environmental targets. But in 2022, Tom Cruise, famed for playing a daring fighter pilot, took flak from French Green politicians for taking to the skies above Cannes. The Top Gun star arrived at the festival by helicopter, despite rules that celebrities should be ferried to the red carpet by electric cars. Cruise's landing was followed by a jet fly-past in his honour. Thierry Frémaux, the festival director, has promised audiences 'a raft of big stars' this year, and Cruise is expected to be in attendance once again to premiere the latest Mission Impossible.
Yahoo
26-03-2025
- Entertainment
- Yahoo
European Broadcasting Boss Delphine Ernotte Cunci On AI, Streamers & The Fight For Independent Media
EXCLUSIVE: Delphine Ernotte Cunci has a unique view of Europe's TV scene as both the President of the European Broadcasting Union and CEO of French pubcaster giant France Télévisions. The EBU is an alliance of Europe's pubcasters. It collectively handles rights negotiations for events including the Olympics, runs the Eurovision Song Contest, and lobbies on behalf of members with Europe's top politicians. It also gathers its membership to chew over everything from tech and AI to funding questions. More from Deadline Paris Olympic Ceremony Director Thomas Jolly Reflects On Bad Weather Being The Great Equalizer: "The Rain That Fell On Lady Gaga Also Falls On The Audience" - Series Mania Prime Video Teases 'Love Me, Love Me', Its Latest International YA Project: "It's A Movie That Can Resonate With A Global Audience" French-Japanese Comedy 'Tokyo Crush' Wins Series Mania Forum Best Project Award Deadline managed to get some time in Ernotte Cunci's diary for an exclusive interview. Ahead of giving a keynote (with her France Télévisions hat on) at Series Mania, she offered a candid take on European TV. The EBU chief addressed everything, from the power of the streamers to the role of the EBU when one of its number, Ukraine, is at war, and why independent media is a cornerstone of democracy. As a side note, the EBU prefers the more modern 'public service media' (PSM) wording to the oft-used 'public service broadcasting' to capture the fact its members do more than just Cunci: Our role is the most important in times of crisis. Uncertainty is clearly there [at the moment] and we don't know what's going to happen tomorrow or the day after tomorrow. I think our mission is to stand by our communities, our people. Today, we have a strong link with our audience. For instance, in France, every week, 80% of the population comes to see us on linear TV or on our platform. We're here for entertainment, we're here for news, we're here for everything in people's daily life. This link is our main asset in these very challenging times. We need to stand by the people by providing independent and trusted news and doing investigative journalism. We do it in France, we're the only one to have a great investigative team that is independent from every type of outside Cunci: We have the CEO of Ukrainian Public TV in the EBU. We know they need money for weapons, and even with a country at war, Zelensky didn't decide to cut costs for public TV. But you're right. In the East, it's more about political pressures on PSM. In our Western countries, it's more funding Cunci: We took the opportunity to see some commissioners and some Members of the European Parliament. One of my main messages was about support for independent public media because independence is a condition for trust. Independent public media is not just a question of cultural sovereignty, it's not a question of soft power. No, it's a question of national security. It's a question of power. We see that Elon Musk is the one who decides half of the [agenda], so we shouldn't be naive and think that media is just for entertainment. No, communication in a conflict is just as key as [real] Cunci: In France, our first 'channel' is our platform. It's not the linear. The only way to keep that link to everybody is to distribute content on various channels and platforms. Of course, we have the linear channel, and it's still very important today, but it's going to decrease, and the decrease will be quite fast to be Cunci: In a business where the all the power and the scale is in the U.S. and Asia, the only way to balance that power is regulation. The European Union has done its job and the rules are there. The question today is are we going to apply the rules? DEADLINE: Are you concerned AI services are learning models are being built using PSM content? Ernotte Cunci: AI is both an opportunity and a threat. First, we need to set up standards better. The first question is do we want to feed the AI [machine] with no reward for the work? The answer is no. Do we want to feed the AI with no accuracy at the end of it and no relation to the sources from our brands? The answer is no. We're asking for proper reward and recognition of our brands. We're asking for the sources to be quoted. DEADLINE: Huge amounts are invested in programming across Europe, but funding is under pressure. Is original European content facing a funding crisis? Ernotte Cunci: I think today, the funding is great, but I'm not sure the trend is good. The likes of Netflix and Disney won't increase their investment because now they need to look for profitability. There was big growth these last years, and at the same time as that, the money invested in public media has been reducing, and it's hard time for [commercially-funded traditional] media. I think the overall amount invested in Europe on content is not going to grow. But from my point of view, public media shouldn't decrease its investment in content, because it is key. Content, technology, and distribution will be the three main words for us in the future if we want to keep that very strong link with our communities. DEADLINE: Drama in particular has become expensive to the point where even the biggest broadcasters are struggling to finance big projects. What is the answer? Ernotte Cunci: We have ways to cope with it. The first one is to make alliances among ourselves in Europe, and France Télévisions did so with ZDF and others [through the European Alliance group] and we are commissioning very high-value dramas. The second way is to make agreements with Netflix [and streamers]. We can find agreements with them and share the rewards. We're not doing the exactly the same job, because we are free whereas they are not. There are a lot of better ways that all of the people investing in fiction can Cunci: If they invest in drama locally, I'm in favor of that. In France, for instance, they are committed to invest and it's a great thing. I don't feel that Netflix and Disney are our main competitors. I think they are actors in a very competitive sector and they have their own issues though. There are now many SVOD platforms and they may see some constraints with concentration in the future. The profitability of those platforms is not so easy to achieve, so there's a lot of room for cooperation. Of course, they are very strong and powerful, but not as powerful as another type of media, the social media Cunci: We need to be on YouTube, we need to be on TikTok, we need to be on Instagram. There's no question about using and being on those social media platforms. But the fact is social media is also a way to distribute fake news, to help foreign and bad influences, so it's also actively promoting polarization in our society. I think we won't be as dominant as we were 30 years ago, but we see the difference today where trust levels in public media are very high. It's very poor in social Cunci: My main concern is continuing to be a reference point in the future. Maybe the audience as a whole will decrease, but if people have in mind: 'Okay, I read this on X and that on Insta, but what is France Télévisions saying about that event?' and then they come and check with us, I think we are in the right Cunci: The motto of Eurovision is 'united by music,' and we need to be united. We have discussions on how can to grow the brand because it's huge and it's positive. The 2025 venue in Basel is tremendous. We have a new Director of Eurovision, Martin Green, and he's adding a lot to what has been done in the previous years. Best of Deadline 2025 TV Series Renewals: Photo Gallery How To Watch 'Wicked: Part One': Is The Film Streaming Yet? All The Songs In 'Severance' Season 2: From The Who To Ella Fitzgerald
Yahoo
24-02-2025
- Entertainment
- Yahoo
‘Drugged And Abused: No More Shame': Documentary Following Gisèle Pelicot's Daughter Caroline Darian To Air Internationally
EXCLUSIVE: A feature documentary following Gisèle Pelicot's daughter, Caroline Darian, has been acquired by a raft of broadcasters in Europe and beyond. Drugged And Abused: No More Shame was commissioned by France Télévisions and aired on its France 2 channel in late January. Newen Studios-owned CAPA produced. Newen Connect distributes and has made the documentary a priority title at this week's London TV Screenings. More from Deadline Zentropa, Wooden Horse & Sipur Projects Among Those Competing At Series Mania Co-Pro Pitching Session 'The Sentinels': French Super-Soldier Series Ready For Launch On Canal+ And At The London TV Screenings Bigger Than 'Planet Earth'? Creative Team Behind 'The Americas' Talk Working With Tom Hanks & Hitting Career Highs On NBC's Most Expensive Unscripted Project Of All Time As events in London get underway, Newen has sealed the first deals for the film. Several public broadcasters have acquired it, including Austria's ORF, Finland's YLE and RTBF, and VRT in Belgium. Further afield, Canadian French-language pubcaster Radio-Canada has picked it up. Spain's Movistar is another buyer. Gisèle Pelicot's courageous decision to waive her right to anonymity led to a worldwide spotlight being shone on a case, which, late last year, saw Dominique Pelicot jailed for the maximum term of 20 years. The film documents her Darian's story as she prepares for the trial of her father, who drugged and raped her mother for years, and also invited dozens of other men to assault her. It also follows her work as a whistleblower, working with other victims and raising awareness of the role of drugs in rape and sexual assault. She narrates the film. Linda Bendali directed the documentary. 'The shocking reality of drug-facilitated sexual assault is revealed in the film as a crime that has long been ignored,' the team behind it said. Deadline spoke with the producer of the powerful doc, for an in-depth Global Breakout feature, which will be published later this week. Best of Deadline Who Is The Mysterious Caller In 'The White Lotus' Season 3 Episode 2? 'The White Lotus' Season 3 Release Schedule: When Do New Episodes Arrive On Max? 'The White Lotus' Season 3: Everything We Know About The Cast, Premiere Date & More
