All articles tagged with #cannes
The Cannes buzz surrounds Club Kid, Jordan Firstman’s directorial debut, with Cara Delevingne and Diego Calva; the first trailer shows a queer party promoter whose life is upended when he meets the 10-year-old son he never knew. A24 acquired distribution after a bidding war that reportedly reached $17 million, and the film hits theaters on November 6.
Jordan Firstman’s Cannes-buzzed Club Kid trailer reveals a surprisingly warm, oddball comedy about a party guy who learns he has a son and must become a father, with Diego Calva and Cara Delevingne in supporting roles; the film has been praised for its stylistic energy and was acquired by A24 in a $17 million deal for a November awards-season release.
Thierry Frémaux argues Cannes remains a powerful, efficient hub for global cinema even as Hollywood restructures and streaming changes the industry. He notes strong attendee presence, including major stars, and buzz around Un Certain Regard titles like Club Kid, defending the festival’s balance between Competition and its incubator program. The Palme d’Or went to Cristian Mungiu’s Fjord, and while some American faves like James Gray didn’t win, Frémaux says US cinema remains central. He also addresses the Canal+/Bolloré controversy, hopes for Netflix’s return, and confirms plans for Cannes 2027 (May 11–22) as the festival boldens its continued evolution amid political and market tensions.
Neon has set the North American release date for Na Hong-Jin’s Cannes sci‑fi hit Hope, targeting September 9 after its In Competition premiere at Cannes; the film follows police and hunters in a remote Korean village dealing with a mysterious creature, and it has already secured strong overseas pre-sales ahead of its Korean summer release.
The White Lotus is filming Season 4 at the Cannes Palais des Festivals after the festival wrap, recreating a dramatic closing-night vibe with rival film crews in the mix. Laura Dern and Steve Coogan were spotted on set alongside Ari Graynor and Max Greenfield as late-night shoots progress through Thursday. The season, a satire on the film industry, centers on two competing film teams at the festival and will later move to Paris for Lutetia interiors before returning to the South of France, with a budget around $120 million.
Photos from The Hollywood Reporter show The White Lotus Season 4 filming in Cannes with Laura Dern, Marissa Long and Chris Messina on the Croisette and near the iconic Cannes steps; Survivor 50 alum Charlie Davis was also photographed on set as production continues in Cannes, Saint-Tropez, Monaco and Paris with a star-heavy cast.
Cannes 2026 felt like a down year for the festival, but critics still highlighted ten standout performances across the lineup, including Hiam Abbass in Atonement, Swann Arlaud in A Man of His Time, the pairing of Virginie Efira and Tao Okamoto in All of a Sudden, Hannah Einbinder in Camp Miasma, Hoyeon in Hope, Victoria Luengo in The Beloved, Masahiro Motoki in The Samurai and the Prisoner, Sophie Okonedo in Clarissa, Sebastian Stan in Fjord, and Tom Sturridge in The Man I Love; Neon won the Palme d’Or for Fjord, underscoring that great acting can shine even when the year’s overall sentiment is muted.
At Cannes 2026, AI heavies dominated the festival as studios stayed away, with Hollywood agents quietly courting multi-million deals with OpenAI, Anthropic and Meta; tech giants bankrolled many events, while public criticism from actors was largely muted on the Croisette. Demi Moore urged a cooperative path and Darren Aronofsky expressed optimism for storytelling, though Scarlett Johansson skipped the festival amid prior AI battles, underscoring a shift toward tech collaboration over public backlash.
At Cannes Day 10, Rami Malek's The Man I Love premiered to Oscar buzz with early praise from critics, Penélope Cruz stars in The Black Ball which earned a lengthy standing ovation, and Maika Monroe's Victorian Psycho debuted in Un Certain Regard, signaling a Gothic thriller to watch, with ovation scores highlighting The Black Ball as a standout.
A photo-driven Cannes week two fashion gallery highlights bold bows, sculptural gowns and rule-breaking styling across a lineup of stars (Demi Moore, Isabelle Huppert, Tilda Swinton, Penélope Cruz, Zoe Saldana, Cate Blanchett, Dita Von Teese and more), with looks from Chanel, Prada, Louis Vuitton, Dior and other major houses.
Demi Moore, 63, is reportedly enjoying a selective dating life with a small 'roster' of younger men and no need for a long-term partner, focusing on independence, family, and career while aging gracefully, with a Cannes appearance showing a chic shorter hairstyle.
Sebastian Stan discusses Cristian Mungiu’s Fjord, highlighting its themes of religious intolerance and child violence and noting his transformed look for the role, then reveals he’ll head to London this summer to shoot Matt Reeves’ The Batman: Part II, where he will play multiple roles including Harvey Dent/Two-Face, marking his first foray into the Batman/DC universe; the piece also touches Cannes’ high-profile moments and Tilda Swinton’s views on cinema’s future.
At Cannes, Russian director Andrey Zvyagintsev used his Grand Prix moment to urge President Putin to end the Ukraine war, saying millions on both sides dream of stopping the carnage; his film Minotaur, set during the invasion, finished runner-up to Cristian Mungiu's Fjord, and he said he is ashamed of Russia's actions while living in exile in France, noting that many Russians will see the film via pirated copies or VPNs.
At Cannes 2026, Cristian Mungiu’s Fjord won the Palme d’Or, capping a 12-day festival that delivered standout fashion from Monica Bellucci, Aishwarya Rai Bachchan, Demi Moore, Penélope Cruz and Bella Hadid on a red carpet that kept Hollywood glamour alive despite studios skipping the event; Barbra Streisand received an honorary Palme d’Or but did not attend due to a knee injury.
The Wall Street Journal claimed an AI-generated feature called Hell Grind would debut at Cannes, but festival organizers say it was not on the official program and instead screened at a third‑party venue in Cannes; the producers point to the Marché du Film, a marketplace with no formal festival selection, to back their claims. The piece uses the episode to critique AI hype in cinema and notes a mix of industry reactions, underscoring how marketing can blur what actually qualifies as a Cannes appearance.