Many of the films featured in the festival, which opens today, explore the past. While there are no Italian films in competition, the festival will include appearances by Dario Argento, Monica Bellucci, and Isabella Ferrari.
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CANNES – The black and white energy of "Thelma and Louise," a symbolic image of the 79th edition, explodes in a giant format on the Palais de Cannes. "We've been accused of 'feminist' washing for this choice, of exploiting feminism," Thierry Frémaux, the general delegate, smiles wryly. The festival opens tonight in a strange atmosphere, suspended between the weight of history – a theme in many films – and the uncertainty of the present. There's less Hollywood than usual, no Italian films in the main sections, and many sensitive issues are on the table, ranging from politics to artificial intelligence and the role of cinema in a world marked by wars and economic crises.
The festival aims to be an international, cultural, and symbolic space where cinema tries to tell its own story. However, Italy is not represented in any of the sections. "I choose a film from a new cinematography over one from an established one," Frémaux says, adding, "This year, Italy won't even be at the World Cup; we've added insult to injury, I'm doubly disappointed." He assures that "we always love Italian cinema, we celebrated the eight David awards given to 'Le città di pianura' by Francesco Sossai, who was here last year, and we're looking forward to his next film." He regrets that Sorrentino's "The Hand of God" wasn't "ready in time for Cannes, and went to Venice." However, Italy is present in a supporting role: Monica Bellucci, Dario and Asia Argento, Franco Nero, Isabella Ferrari, Margherita Spampinato, and Laura Samani are among those participating in restorations, juries, and side events.
On the cultural and political front, Frémaux recalls that Cannes was founded in 1939 as an alternative to the Venice Film Festival, which was "in the hands of the fascists," and that after the war, the festival was rebuilt in the spirit of resistance and international dialogue. "Politics is on the screen," he explains, emphasizing that "jurors and organizers should not impose their own opinions but leave space for filmmakers." He calls the new Oscar rules regarding AI "obvious," and describes "Apocalypse Now" as "the last biological film: even in auteur films, there are now digital effects everywhere." He warns of "a high risk of lies. One day, someone might actually believe that Tom Cruise and Brad Pitt fought on a rooftop."
He remembers the glories of recent years, "Mission Impossible" and "Indiana Jones," Scorsese and Coppola. But he admits that the major studios have more fragmented strategies after the pandemic, strikes, and the rise of streaming platforms. For the general public, there's the "Fast & Furious" franchise, a "phenomenon of contemporary culture," which is returning after 25 years. Tonight, Jane Fonda, Peter Jackson, Demi Moore, and Stellan Skarsgård will be on the red carpet for the opening comedy, "Venus Electric." However, Cannes is less dazzling than in the past. Among the professionals, there's an atmosphere of economic caution: the French real estate crisis, the fear of investing, and the upcoming political elections are factors that are slowing down consumption and major spending. "Everyone is waiting," say merchants and industry insiders, from wealthy individuals to the middle class. Even international luxury is undergoing a period of redefinition: there's uncertainty about the return of Saudi and Bahraini families, who are regular summer visitors to the French Riviera. Some speculate that part of the elite tourism might shift from Dubai to the French Riviera, and there are reports of new, opaque flows of money.