Thierry Fremaux, the esteemed director of the Cannes Film Festival, has recently shared his apprehensions regarding the shift in focus from cinema to political and social controversies. During a news conference with journalists on Monday, Fremaux noted a change in conversations surrounding the film festival in recent years.
“In the past, people only talked about the cinema. We as organizers only had one anxiety – the films: will people like them, will people hate them?” shared Fremaux, reflecting on the time when cinema was the sole star of the festival. This change in discourse comes in the wake of a report by the French newspaper Le Figaro last week, suggesting that Cannes had employed a crisis management team. This preparation was due to concerns about the potential repercussions of the release of a list naming 10 film industry figures accused of sexual misconduct.
Fremaux, responding to questions about the report, emphasized, “It’s not polemics that actually spring from the festival, that’s something we want to avoid.” His commitment to steering the festival away from controversy underscores a yearning for a return to the festival’s cinematic roots.
The irony of these changing times doesn’t escape Fremaux, who acknowledged the importance of screening the new short film “Moi Aussi” (“Me Too”) at the festival. Directed by Judith Godreche, a prominent voice in France’s #MeToo movement, the film is a testament to the stories of approximately 1,000 victims of sexual abuse. The 17-minute short film is set to premiere during the “Un Certain Regard” competition’s opening ceremony on Wednesday evening, setting a precedent for addressing issues within the industry.
Despite the influence of global movements and campaigns, Fremaux steadfastly maintains that film selections are based purely on their cinematic value. This applies even to films addressing current affairs and subjects such as Ukraine, Gaza, or the tumultuous era under former U.S. President Donald Trump. “From the start, ‘Cannes has reflected the upheaval in the world because that’s what directors do in their film,'” he said.
Additionally, Fremaux is grappling with the potential of a worker’s strike that looms over the festival, potentially hindering its proceedings. The event is scheduled to run from May 14 to 25, but discontent among festival workers demanding better conditions could lead to a shutdown. Daily discussions with representative workers are underway, showcasing an active attempt to mitigate these risks and avoid any disruption.
Fremaux made it clear that Cannes has always been a reflection of the world through the lens of film directors who capture the spirit of their times. “Everyone wants to avoid a strike,” said Fremaux, giving voice to the universal desire for smooth festival operations.
The Cannes Film Festival, now in its 77th year, stands as one of the most prestigious events in the film industry. The festival’s commitment to showcasing the art of cinema remains unwavering, despite the contemporary challenges it faces. The balance between honoring cinematic achievements and navigating the socio-political landscape is delicate, but Fremaux and his team are determined to maintain the festival’s integrity and esteemed legacy.
As Cannes is on the verge of another grand opening, it is the love of cinema that stands at the forefront of the organizer’s minds. The goal, as always, is to celebrate the works that push artistic boundaries, tell compelling stories, and enhance the global appreciation of the medium. The festival’s ability to adapt yet preserve its core ethos of film reverence makes each edition a testament to the enduring power of motion pictures.
