ATTENDING THE CANNES FILM FESTIVAL
DIARY NO. 4
DEMYSTIFYING CANNES
A month ago I learned that I was going to the 78th edition of the Cannes film festival. Coming as a surprise but also a very exciting last minute plan, I jumped on the occasion with no hesitation and packed light to hop on this cultural journey. Mainly going through a short-term internship and a volunteering mandate I was anticipating the kind of Cannes experience I would have. One thing was certain ; I wanted to gain as much insight on the multiple branches of the event as possible. So there you go, I arrived in Cannes in the morning of May 13th, a few hours before the opening ceremony of this mystical event.
ABOUT THE FESTIVAL
Navigating the Festival de Cannes means moving through a patchwork of spaces, each with its own pulse. Appreciating the institution requires observing how its programs have shaped not only its public image, but cinema itself. The Sélection Officielle and its red-carpet rituals remain the face of the festival ; polished, institutional, global. Yet over time, parallel sections have emerged to stretch its boundaries: La Quinzaine des Cinéastes (1969), Un Certain Regard (1978), the ACID (1993) and Cannes Classics (2004). Each arose in response to creative and political urges; giving voice to new forms, neglected auteurs, and counter-histories.
At the core of the festival, the Sélection Officielle reflects Cannes’ institutional identity, bringing together established auteurs, international heavyweights, and cinematic statements poised for global impact. It is the face of the festival: polished and prestigious. In contrast, Un Certain Regard, created in 1978, provides a platform for emerging voices and formal experimentation. It’s where riskier works are allowed to unfold : often quieter, but no less daring, it signals the festival’s commitment to discovery. It was this section that hosted my Cannes coup de coeur : A Pale View of Hills by Key Ishikawa. Adapted from the eponymous debut novel by Japanese-British author Kazuo Ishiguro, this drama revisits the post-war years in Nagasaki through intergenerational female perspectives.
At the core of the festival, the Sélection Officielle reflects Cannes’ institutional identity, bringing together established auteurs, international heavyweights, and cinematic statements poised for global impact. It is the face of the festival: polished and prestigious. In contrast, Un Certain Regard, created in 1978, provides a platform for emerging voices and formal experimentation. It’s where riskier works are allowed to unfold : often quieter, but no less daring, it signals the festival’s commitment to discovery. It was this section that hosted my Cannes coup de coeur : A Pale View of Hills by Key Ishikawa. Adapted from the eponymous debut novel by Japanese-British author Kazuo Ishiguro, this drama revisits the post-war years in Nagasaki through intergenerational female perspectives.
Further along the Croisette, the Quinzaine des Cinéastes, born out of the Mai 68 protests, remains defiantly independent. Its programming is politically alert, eclectic, and radically open, offering a space for the unexpected and the urgent.
Then comes l’ACID, curated by filmmakers for filmmakers. This section champions underrepresented cinema and debut works, resisting commercial pressures in favor of artistic sincerity and engaged vision.
Finally, Cannes Classics stands as a reverence, a space to honor film history through restorations, tributes, and archival gems that remind us where cinema has been. My first Cannes scene was actually the restored version of Charlie Chaplin’s Gold Rush from 1925, made possible by a global restoration project to commemorate the film’s 100 year anniversary.
Ultimately, these parallel sections expand the definition of cinema, from experimental midnight séances to global first features. Ultimately what emerges is less a linear program than a constellation of narratives, visions, and provocations. As a matter of fact, Cannes isn’t one festival, it’s many visions, layered and coexisting, inviting us to drift between tradition and rupture.
Then comes l’ACID, curated by filmmakers for filmmakers. This section champions underrepresented cinema and debut works, resisting commercial pressures in favor of artistic sincerity and engaged vision.
Finally, Cannes Classics stands as a reverence, a space to honor film history through restorations, tributes, and archival gems that remind us where cinema has been. My first Cannes scene was actually the restored version of Charlie Chaplin’s Gold Rush from 1925, made possible by a global restoration project to commemorate the film’s 100 year anniversary.
Ultimately, these parallel sections expand the definition of cinema, from experimental midnight séances to global first features. Ultimately what emerges is less a linear program than a constellation of narratives, visions, and provocations. As a matter of fact, Cannes isn’t one festival, it’s many visions, layered and coexisting, inviting us to drift between tradition and rupture.
A FIRST TASTE OF CANNES
The first day in Cannes calls for demystification. While wandering through the area, the first thing you notice is the people; because yes, the crowds make these events. A blend of high-glam extravaganza, effortless elegance, and nonchalant amateurs collide over the festival’s ten days.
Arriving slightly earlier than most, I took the chance to explore the various sections and get a feel for the landscape. Needless to say, it’s massive. La Croisette alone is an effervescent promenade, lined with white tents; each one home to a different party, reception, or press event. Even by midday, the area fills with glammed-up celebrities and chic festivalgoers heading to long-awaited premieres and exclusive happenings.
Arriving slightly earlier than most, I took the chance to explore the various sections and get a feel for the landscape. Needless to say, it’s massive. La Croisette alone is an effervescent promenade, lined with white tents; each one home to a different party, reception, or press event. Even by midday, the area fills with glammed-up celebrities and chic festivalgoers heading to long-awaited premieres and exclusive happenings.
After some exploration, I attended my first screening at the Théâtre Debussy, a cinema space with an intensely evocative atmosphere. Watching the remastered version of The Gold Rush by Charlie Chaplin was already an experience, but sharing it with two thousand spectators made it even more powerful. A striking symbol of Cannes’ prestige: two of Chaplin’s grandchildren were there to present the film.
Shortly after, I attended ACID’s opening cocktail party, where I met fellow volunteers and passionate cinephiles. The crowd; young, alternative, and politically attuned—made me realize just how distinct each section of Cannes truly is. As we wrapped up discussions on niche cinema and industry shifts, we were invited upstairs to ACID’s headquarters to watch the opening ceremony live. That, too, was an unforgettable moment; allowing me to experience the festival from both an insider’s and outsider’s perspective.
Shortly after, I attended ACID’s opening cocktail party, where I met fellow volunteers and passionate cinephiles. The crowd; young, alternative, and politically attuned—made me realize just how distinct each section of Cannes truly is. As we wrapped up discussions on niche cinema and industry shifts, we were invited upstairs to ACID’s headquarters to watch the opening ceremony live. That, too, was an unforgettable moment; allowing me to experience the festival from both an insider’s and outsider’s perspective.
DISCOVERING THE MARCHÉ DU FILM
On my second day in Cannes, I discovered that the Marché du Film is an inseparable aspect of the festival experience. If you're involved in the film industry in any capacity, you're already aware of its significance. Created in 1959, this global business platform now gathers more than 12,000 industry professionals from distributors and producers to festival programmers.
This part of Cannes is, without a doubt, its most exclusive. I felt a palpable pressure in accessing such a space though that sense of privilege extended to the whole experience, really. The Marché presents itself like an Olympic village: most participating countries host their own pavilions, offering information, programming, and a strong cultural presence. The Québec, Canada, and UK pavilions are all located within the same hub, creating a rare opportunity to meet both local and international professionals. For a young professional like me, this kind of access truly feels like a once-in-a-lifetime opportunity.
This part of Cannes is, without a doubt, its most exclusive. I felt a palpable pressure in accessing such a space though that sense of privilege extended to the whole experience, really. The Marché presents itself like an Olympic village: most participating countries host their own pavilions, offering information, programming, and a strong cultural presence. The Québec, Canada, and UK pavilions are all located within the same hub, creating a rare opportunity to meet both local and international professionals. For a young professional like me, this kind of access truly feels like a once-in-a-lifetime opportunity.
What struck me most was the clear desire to integrate the younger generation of international creatives into major projects. Perhaps my view is biased, but in the cultural world, this level of openness is not always a given. Yet through events, workshops, and public conferences, the question of succession and intergenerational collaboration was front and center. Leaders from institutions across the UK, the Netherlands, wider Europe, and the Nordic countries all echoed this commitment.
Talks led by recognized professionals such as Noemi Ferrer Schwenk, a leading screen strategy consultant, highlighted the need for increased collaboration between Nordic and Quebec projects. She emphasized the importance of cultivating emerging pathways, rather than relying on established routes alone. Ultimately, I left feeling inspired. The film industry, at least in this corner of it, seems ready to modernize and to welcome a new generation of creatives and strategists into the fold.
Talks led by recognized professionals such as Noemi Ferrer Schwenk, a leading screen strategy consultant, highlighted the need for increased collaboration between Nordic and Quebec projects. She emphasized the importance of cultivating emerging pathways, rather than relying on established routes alone. Ultimately, I left feeling inspired. The film industry, at least in this corner of it, seems ready to modernize and to welcome a new generation of creatives and strategists into the fold.
CONCLUSION
However eclectic Cannes may be, experiencing the festival firsthand offers invaluable insight into the many facets of the global film industry. On the surface, it can seem over-the-top : a spectacle of extravagance and status. But beneath that sheen, Cannes is above all a hub for international collaboration.
While many see Cannes simply as a film festival, I’ve come to believe it is, in fact, driven by the market. It’s a place where professionals across the industry gather not only to celebrate cinema but to learn, collaborate, and innovate in ways that few other global events allow. Cannes is where business meets vision, where future projects are seeded, partnerships formed, and strategies redefined showcasing the never ending ambition of the film industry.
If there’s one thing to know before heading to Cannes, it’s this: be ready to feel like you’re in an aquarium. Time warps. The mentality, the rhythm, the intensity it all exists on a different frequency, entirely detached from the real world. It’s not like stepping into a museum or attending a gallery opening. Cannes is its own form of stimulation; constant, shifting, immersive.
That’s the Cannes effect !