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The 78th edition of the Cannes Film Festival was launched with great policy and a special tribute to Robert de Niro who saw the Oscar -winning legend Slam, President Donald Trump as an “enemy of the arts”.
The main attraction – the French musical, “Leaving one day” – took a rear seat for the paparazzi rushing to get a photo of the star of “Taxi Driver”, which hiked in France to accept a golden timetable by Leonardo DiCaprio.
The former winners of the Palme d’Or, the first prize of the festival, such as Quentin Tarantino and Sean Baker, traveled the red carpet, as well as actors and models like Eva Longoria, Julia Garner, Heidi Klum and Alessandra Ambrosio. But Tom Cruise, who is in town to present “Mission: Impossible – The Last Calculation”, he was not found.
Juliette Binoche, who is president of the jury, put on a light pink tailor with a veil that recalled something from the “dune” universe. She was holding her hand with her sworn colleagues – a group that includes the star of “succession” Jeremy Strong, the Oscar -winning actor Halle Berry and the director “everything we imagine as light” Payal Kapadia – at the top of the stages. A handful of applause broke out when De Niro entered the carpet.
There were short lines to enter the palace while the crowd was rushing in front of the flashing cameras on the red carpet. For all the speeches of a nudity ban this year – prohibiting women from carrying dresses deemed too revealing – the Cannes fashion police seemed to be out of service. A man was allowed to enter with a knitted tie (when the butterfly are compulsory) and, worse, another male participant was spotted by wearing dirty blue boat shoes with his black tuxedo.
But inside the palace, there was much more drama than on the too coset red carpet. In his speech accepting his career production prize, from Niro criticized Trump as “American Philistine President” and urged the crowd to show his opposition to his administration.
“We have to act now,” he said. “Without violence, but with great passion and determination. It is time for all those who care about the freedom to organize, to protest, and when there are elections, of course to vote. Tonight, and for the next 11 days, we show our strength and our commitment by celebrating art in this glorious festival.”
Binoche’s opening remarks also brought a political message, referring to the war in Gaza and other Chaud button problems, while urging the Glamor crowd to remember their “humanity”.
“War, misery, climate change, primitive misogyny, demons of our barbarities do not leave us out of the outlet,” she said. “Today, the pain of pain are so violent that they take the weakest, the hostages of October 7 and all the hostages, the prisoners, the drowned that endure terror and die in a terrible feeling of abandonment and indifference. Against the immensity of this storm, we must give birth to sweetness.”
The ceremony included a tribute to David Lynch, the avant-garde director, whose films like “Mulholland Drive” and “Wild at Heart”, were the favorites of the Cannes public. But the breathtaking moment came when Tarantino walked on stage like a circus Ringmaster to declare that Cannes was “officially open” before literally dropping the microphone.
The celebration of Cannes’s opening cinema attracts global attention. However, the films that launch the festival, such as the historic epic of Johnny Depp “Jeanne du Barry” or the comedy Léa Seydoux and Louis Garrel “The Second Act”, quickly fades from memory. “Leaving one day”, which was projected early to certain criticisms, can continue the tradition after receiving mixed criticism. A high -level film journalist went to his seat and whispered in his breath: “I’m going to suffer from this.
There were a handful of protests in front of the palaces, involving self -employed workers from the film festival upset by their working conditions and their lack of advantages.
The status of rods as a critical stop of the prize -cereal season was validated after Palme d’Or’s “Anora” from last year, “Anora” by Sean Baker, ended up triumphing at the Oscars, capturing the best film. Recent editions have also seen the first heavy goods vehicles of Oscars like “Anatomy of a Fall” and “The Zone of Interest” it is not clear if this year will welcome other major contenders.
On paper, the range offers something for a large arrangement of tastes. It includes a collection of major studio outings such as Cruise’s final release as an Ethan Hunt super spy, as well as world -renowned authors like Ari Aster (“Edington”), Julia Ducournau (“Alpha”), Spike Lee (“Highst 2 Low”), “sentimental value”).
But there are also signs that Cannes, synonymous with glamor and splashing festivals, can be in tight mode by belt. The box office is still struggling to resume its pre-countryic form and it is afraid that the economy can go to a recession. Studios and streamers have discreetly declared that they sent fewer executives, some wary of too much for films that may have a limited commercial appeal.
Despite two of the largest film stars on the planet – in Cruise and DiCaprio – Criss crossing the area at the same time, security was only slightly increased. Police on horseback swept the side streets and car traffic was prohibited closer to the red carpet. The fans’ participation rate seemed greater than in recent years, barely with no room to maneuver in front of the palaces. A fan looking at the action on the jumbo screen installed outside was delighted when she saw Baker and his wife Samantha quantre the red carpet. “He’s American.” She said, but had trouble remembering her name.
A week before the start of Cannes, President Trump threw the cinema into a state of confusion after announcing that he was going to impose 100% prices on all films “produced in foreign land”. Its objective was to bring production to the United States, Trump has since backed away from this threat, indicating that no final decision had been made and signaling a desire to meet studio leaders. But if he moves the equipment again and imposes his prices, they threaten to unravel a global network of cinematographic financing which is based on foreign subsidies to obtain films, like those which show in Cannes, made.
French actor Laurent Lafitte began the ceremony with a blow in one of President Trump’s best allies, Elon Musk.
“An actor is not only a little egocentric being, busy watching his own films between two stings in a peak. His eye riveted on his mobile phone, in the hope of seeing the word agent appear. A look of envy and hatred, a bit like watching a Tesla,” he said.
Angelique Jackson, Elsa Keslassy and Tatiana Siegel contributed to this report.
