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IOL News
27-05-2025
- Entertainment
- IOL News
South Africa at Cannes: A Story of Overlooked Talent and Systemic Barriers
French actor and master of ceremony Laurent Lafitte (L) gestures on stage as Iranian director and screenwriter and producer Jafar Panahi (C) poses on stage with Australian actress Cate Blanchett (centre L) and French actress and president of the jury of the 78th Cannes Film Festival Juliette Binoche after winning the Palme d'Or for the film "Un simple accident" (A Simple Accident) during the closing ceremony at the 78th edition of the Cannes Film Festival in Cannes, southern France, on May 24, 2025. Image: Valery Hache / AFP The Cannes Film Festival remains synonymous with Hollywood glamour, it also serves as a vital platform for lesser-known filmmakers and actors to gain recognition for their exceptional work often produced on budgets far smaller than those of major studios. This year was particularly remarkable for Middle Eastern cinema. The prestigious Palme d'Or was awarded to Iranian writer-director Jafar Panahi for his gripping thriller "Unsimple Accident," filmed without approval from the Islamic Republic. Meanwhile, "Once Upon a Time in Gaza" won Best Director in the Un Certain Regard section, and Iraqi filmmaker Hassan Hadi took home the Camera d'Or for "The President's Cake." French-Algerian actress Nadia Melliti earned Best Actress for her role in "The Little Sister," and Palestinian director Tawfeek Barhoum won the Palme d'Or for Short Film with "I'm Glad You're Dead Now." These triumphs highlight not only the exceptional craftsmanship of Middle Eastern cinema but also the global fascination with authentic, auteur driven stories from the Islamic world. In the festival's 78-year history, only two South African films have been selected for the Cannes Official Selection. This year, Oliver Hermanus' "The History of Sound," a privately funded gay period drama starring Paul Mescal and Josh O'Connor, competed in the main selection. Based on the eponymous short story, the film marks South Africa's second appearance in the Cannes Official Selection. The first was Elaine Proctor's "Friends" (1993), a poignant drama about three women from different factions of South African society sharing a house in Johannesburg at the twilight of apartheid. Notably, 'Friends" is written and directed by a woman, shot by a female cinematographer (Dominique Chapuis), and featuring a predominantly female cast, received an Honourable Mention for the Camera d'Or. This was a monumental achievement, especially considering that, in its 78- year history, only 82 women directors have been included in Cannes' Official Selection. Today, Proctor is a critically acclaimed novelist based in the UK. Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ As a writer-director, I was inspired by Proctor's legacy. After completing the screenplay for my feature "Two Hues," I reached out to her, and to my delight, she responded. She agreed to direct the film—pending funding—after reviewing the script and offering valuable feedback. For any writer, such validation is invaluable. Bolstered by Proctor's involvement, I applied for funding through South Africa's National Film and Video Foundation (NFVF). Despite her prestige, my applicationswere rejected. Through conversations with industry insiders, I learned that the NFVF has, over the past five years, prioritised a select group of producers and directors, maintaining a status quo that sidelines independent voices, no matter their merit. This raises serious concerns about transparency, panel selection, and equitable processes. Since its inception in 1999, the NFVF has been mandated to promote equity and inclusion in South African cinema. Yet, in 26 years, it has never funded a single South African film selected for The Cannes Official Selection. Instead, millions of rands are spent annually on sending delegations to Cannes, hosting events, and maintaining a presence at the festival, now reduced from a pavilion to a mere stand. In 2018, my documentary "District Six: Rising from the Dust" was showcased at the Marché du Film. While I initially underestimated its significance, the South African press recognised its impact, given its exploration of forced removals and District Six's history. Navigating Cannes alone was daunting. The festival's overwhelming Hollywood-centric atmosphere, red carpets, star-studded premieres, and industry giants, made it clear that independent and documentary filmmakers operate on the periphery. However, I eventually found my footing at Cannes Docs (then Doc Corner), where Pierre-Alexis Chevit expressed interest in my work and proposed a South African showcase for the following year. Back home, I facilitated an introduction between the NFVF and Cannes Docs, only to face exclusion from the subsequent call for submissions. Fortunately, Cannes Docs intervened with a direct invitation, forcing the NFVF to include me. Yet, at the festival, our delegation received no logistical or promotional support, no pitch training, no introductions, and notably no attendance from NFVF leadership, despite their presence at Cannes. This neglect stood in stark contrast to the robust support other nations, like Palestine, provided their filmmakers. In recent years, the NFVF has funded one documentary annually for a Cannes Docs spotlight— without an open industry call. Instead, selections are made in collaboration with Encounters Documentary Festival, raising concerns about fairness and transparency. Why should a festival funded by the NFVF gatekeep such opportunities? This year (2025), the NFVF was conspicuously absent from Cannes, with only the IDC and KZN Film Commission representing South Africa. In a letter to the NFVF Council, Minister Gayton McKenzie denied travel approval for NFVF, urging compliance with the NFVF Act, which mandates that 75% of its budget be allocated to film production. As an industry, we continue advocating for structural reform, transparent processes, adherence to legislation, and better support for intellectual property. Only then can South African filmmakers truly compete on the global stage. Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. Image: Supplied * Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. ** The views expressed do not necessarily represent those of Independent Media or IOL.
Daily Mail
24-05-2025
- Entertainment
- Daily Mail
Cannes Film Festival 2025 winners are REVEALED after the closing ceremony was thrown into chaos by a shock blackout caused by 'sabotage'
The 78th Cannes Film Festival has come to its most glorious moment with the winners finally announced at Saturday's closing ceremony - despite a an unexpected setback. A temporary power outage, believed to be the result of sabotage, briefly stalled the closing ceremony. However, the interruption did little to dampen the festival's spirit, as the celebration managed to resume in time to honour cinematic excellence. French actor Laurent Lafitte hosted the closing ceremonies, with Jury President Juliette Binoche and Cate Blanchett presenting the Palme d'Or. Taking home the festival's highest honour, was acclaimed Iranian filmmaker Jafar Panahi for It Was Just an Accident. The searing revenge drama, inspired by Panahi's own experiences with political imprisonment, follows a group of former inmates as they confront the man responsible for their suffering. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to Daily Mai's showbiz newsletter to stay in the loop. Taking home the festival's highest honour, was acclaimed Iranian filmmaker Jafar Panahi for It Was Just an Accident While on stage, Panahi said what mattered most was the future of his country. He said: 'Let us join forces. No-one should tell us what kind of clothes we should wear, or what we should or shouldn't do.' Meanwhile, the Grand Prix was awarded to Norwegian director Joachim Trier for Sentimental Value. A reflective and intimate portrayal of familial bonds and emotional reckoning, the film was praised for its delicate balance of melancholy and warmth. Brazilian director Kleber Mendonça Filho received the Best Director accolade for his gripping political thriller The Secret Agent. Set during the final years of Brazil's military dictatorship, the film explores themes of surveillance, resistance, and loyalty. The lead role, played by Wagner Moura, also earned him the Best Actor award, marking a standout performance that captivated audiences and critics alike. The festival also recognised rising talent, with Nadia Melliti named Best Actress for her role in La Petite Dernière (The Little Sister). Her portrayal of a young woman navigating questions of identity, heritage, and independence in modern-day Paris was hailed as a breakout performance. The film also received the Queer Palm, further cementing its status as one of the year's most impactful entries. In a rare decision, the Jury Prize was shared between two films. Oliver Laxe's Sirat, a poignant account of a father's desperate search for his missing daughter in Morocco, shared the honour with The Sound of Falling, a meditative German drama by Mascha Schilinski that explores grief and renewal with quiet power. Veteran auteurs Jean-Pierre and Luc Dardenne added to their long list of accolades with the Best Screenplay award for Young Mothers. Their script, marked by the Dardennes' signature realism and humanity, delves into the lives of teenage mothers facing societal and personal challenges. Elsewhere, a Special Prize was presented to Chinese director Bi Gan for Resurrection. The film's dreamlike visuals and nonlinear narrative earned praise for pushing the boundaries of cinematic form. Camera d'Or went to Hassan Hadi for The President's Cake, a sharp political satire that marks a promising debut. A Special Mention in the same category was given to Akinola Davies Jr for My Father's Shadow, a deeply personal exploration of heritage, memory, and generational healing. Short Film Palme d'Or was awarded to Tawfeek Barhom for I'm Glad You're Dead Now, a darkly poetic meditation on grief and release. A Special Mention was given to Adnan Al Rajeev for Ali, praised for its emotional clarity and understated power.
Forbes
24-05-2025
- Entertainment
- Forbes
‘It Was Just An Accident' Wins Palme D'or At Cannes; ‘Sentimental Value' Awarded The Grand Prix
It Was Just An Accident directed by Jafar Panahi won the Palme d'Or tonight at the Cannes Film Festival. The co-production between France and Iran premiered May 20th and earned an 8-minute standing ovation. The film quickly became one of the most talked-about movies on the Croisette. This win also marks Neon's sixth win in a row, an incredible streak for the U.S. distributor. French actor Laurent Lafitte hosted the closing ceremony of the 78th edition of the Cannes Film Festival, which Juliette Binoche presided over with her jury, which included Halle Berry, Payal Kapadia, Alba Rohrwacher, Leïla Slimani, Dieudo Hamadi, Hong Sangsoo, Carlos Reygadas and Jeremy Strong. During his speech, Panahi said, ''Before I say anything else, please let me thank my family for the period of time I was absent and my team who accompanied me throughout the making of this film.'' He added: ''I think now is the right moment to ask every person that has a different opinion, I ask you this one thing: let us put our differences aside, what is important is the freedom of our country. With you, here, we have this moment together, where no one tells us what to wear, what to say, what we must not do. Cinema is a society, no one can tell us what to do.'' Throughout the ceremony, many prestigious awards were given to some incredible movies presented during this festival's edition. The Camera d'Or trophy was given to Hasan Hadi's The President's Cake. A Special Price was given to Resurrection directed Bi Gan, China's incredible sci-fi entry into the competition. Wagner Mourra was awarded the award for best actor for his role in ''The Secret Agent'' Brazil's unique entry in competition this year. Best screenplay is awarded to Jean-Pierre and Luc Dardenne for their film Young Mothers. The Jury Prize was exceptionally awarded to two movies, Sirat directed by Oliver Lax, and Sound of Falling directed by Mascha Schilinski. Legendary director Claude Lelouch presented Kleber Mendonça Filho the award for best director, tonight's second win for The Secret Agent. During his speech, the director called the Cannes Film Festival 'The cathedral of cinema.' Nadia Melliti was awarded best actress for her role in coming-of-age movie The Little Sister directed by Hafsia Herzi and adapted from Fatima Daas' autofiction The Last One. Sentimental Value directed by Joachim Trier won the Grand Prix at Cannes tonight. The film premiered May 21st and received a 19-minute standing ovation. In 2021, it was Trier's The Worst Person in the World that earned Renate Reinsve a Best Actress Award at the Cannes Film Festival.
Yahoo
18-05-2025
- Entertainment
- Yahoo
Is This the Most Political Cannes Festival Since '68?
Has Cannes gone all political on us? The French film festival, which used to pride itself on, sometimes to a fault, being the apolitical 'cinema for cinema's sake' festival, appears to be storming the barricades. The 78th Festival featured one of the most political opening ceremonies in living memory. In his speech accepting an honorary Palme d'Or, Robert De Niro lambasted U.S. President Donald Trump, labeling him 'America's Philistine president' and rallying the audience to 'act now…without violence, but with great passion and determination' to defend democracy. 'It's time for everyone who cares about liberty to organize, to protest, and when there are elections, vote. Vote. Tonight, and for the next 11 days, we show our strength and commitment by celebrating art in this glorious festival. Liberté, Égalité, Fraternité.' More from The Hollywood Reporter Skincare Guru Ole Henriksen to Get Biopic Treatment in Collaboration With Niels Juul, Scribe James Wyllie Cannes Fest Draws Unusually High Number of Emmy Hopefuls Entertainment Squad Takes 'Walter, Grace & The Submarine' for North America (Exclusive) Ceremony host, French actor Laurent Lafitte, gave a similarly passionate and highly political speech, calling on actors to use their public platform to make real-world change. He name-checked the likes of James Stewart, Josephine Baker, Marlene Dietrich, Adèle Haenel and Ukraine President Volodymyr Zelensky (whom Lafitte called an actor turned war leader), as artists who have had a positive influence on issues like climate change, equity, racism, immigration, gay rights and more. Cannes president, the Oscar-winning actress Juliette Binoche, continued in a similar vein, saying artists had a duty to call out the abuses of war, climate disruption, misogyny and the 'demons of our barbarities.' The political tone was set on the eve of the festival, when more than 350 world film figures, including Richard Gere, Javier Bardem, Mark Ruffalo and Susan Sarandon, published an open letter on the website of France's Libération newspaper condemning what they called the 'silence and indifference' of the global film community towards the deadly impact of Israel's ongoing military campaign in Gaza. The letter was addressed 'For Fatem' in memory of the 25-year-old Gaza artist and photojournalist Fatima Hassouna, the subject of Sepideh Farsi's documentary Put Your Soul on Your Hands and Walk, which debuted in Cannes Thursday night. Fatima was killed April 16 in an Israeli air strike on her home in northern Gaza, alongside 10 members of her family. Two-time Palme d'Or winners Ken Loach and Paul Laverty shared the letter on social media and called on the international film community in Cannes to advocate for peace. 'For a few short days, the world's attention rests on Cannes as film-makers from many countries try their best to make sense of what is happening around them,' their post read. 'Cannes has a tradition of engagement in the affairs of the day, and some still have vivid memories of the events of 1968,' recalling the last time a Cannes film festival seemed as politically charged as this year. On the war in Ukraine, Cannes made it position clear, dedicating the festival's opening day, May 13, to the Ukrainian people in their ongoing fight against the Russian invasion. The festival screened three documentaries, outside its official selection, that look at one of the key figures in the conflict — Zelensky, which follows the life of Ukraine's wartime president Volodymyr Zelensky — and on life on the front line. Oscar-winning director Mstyslav Chernov's (20 Days in Mariupol) 2000 Meters to Andriivka sees the director embedded with a Ukrainian platoon as they inch forward trying to liberate the strategic village of Andriivka. Bernard-Henri Lévy and Marc Roussel's Notre Guerre, was filmed on the Pokrovsk and Soumy fronts in eastern Ukraine between February and April this year. The #MeToo movement, which has been given short shrift at festivals past — there was not a peep from the festival when Johnny Depp, who had faced accusations of domestic violence, walked the red carpet in 2023 for the opening night film Jeanne du Barry — is front and center in Cannes this year. On the same day as Cannes' opening night, French star Gérard Depardieu was handed an 18-month suspended sentence for sexual assault and Binoche credited #MeToo with the watershed moment in the French industry's reckoning with institutional abuse. In an unprecedented move, the festival banned Théo Navarro-Mussy from walking the red carpet Thursday night for Dominik Moll's competition film Dossier 137, because the French actor faces accusations of rape and sexual assault. Three former partners have accused Navarro-Mussy of 'rape, physical and psychological violence.' A court dismissed the original criminal complaint, but the alleged victims have said they plan to file a civil case. Cannes general delegate Thierry Frémaux defended the ban, saying the festival needed to ensure that the 'safety, integrity, and dignity' of all people involved in the films it screens. It should be noted that the allegations against Navarro-Mussy are not connected to Dossier 137 and predate the shooting of the film. Given all this newfound activism, it seemed incongruous that, ahead of the festival, Cannes organizers issued stricter internal guidelines, asking their own staff to maintain 'political neutrality' in their interactions with guests and on social media. The directive, a new addition to standard protocol, comes as labor activists from the unofficial union of festival temporary workers, Sous Les Écrans La Dèche, staged protests on opening night over working conditions. Some also see a discrepancy between calls for Liberté, Égalité and Fraternité and its red carpet fashion police. Festival officials confirmed that this year it has banned full nudity and 'voluminous outfits' from its gala, especially dresses with a large train, that 'hinder the flow of traffic of guests and complicate seating in the theater.' A fest spokesperson clarified that the dress code is not meant to regulate attire 'per se,' but that it did get refreshed to reflect certain rules 'that have long been in effect.' But it was an oddly conservative measure from a festival that, at least this year, appears to be conjuring the sprit of '68. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
