The Croisette already vibrates. While the 78ᵉ edition of the Cannes Festival will officially open tomorrow, Tuesday, May 13, 2025, the city lives at the effervescent rhythm of the most famous cinematographic meeting. The posters are in place, festival -goers and professionals flock, the palaces come alive, the streets fill with wheeled suitcases and freshly printed badges. Everything is ready, or almost, for twelve days of celebration of the 7ᵉ art. On this Monday, May 12, on the eve of this great opening, the general delegate Thierry Frémaux gave a press conference to answer the many questions of journalists, curious to know more about the issues and choices of this new edition.
From the outset, Thierry FrĂ©maux greets the room of a “welcome to all”, before answering a question with a question on the pressure linked to the organization of such an event. “” My friend Kaurismäki told me one day that there was only one pressure, that of beer! He says, smile in the corner, before reminding that the success of an edition is only measured by its end. “That of last year, I did not know that it would be extraordinary before it ends. You can only know it after. But despite the magnitude of the task, he insists on the collective spirit: ” We work as a team, in the calm and the joy of doing this job. What drives us is a common passion for cinema and transmission. »»
Among the most recurring questions: the choice of the opening film. This year, this is a first feature film, a musical made by a woman, and of a relatively short duration. “” We can go dinner earlier! “Amuses FrĂ©maux. More seriously, he explains that the compulsory criterion is the release of the film in French theaters, including a simultaneous screening of the film in theaters on the evening of the ceremony. “” This is the rule. A film like Impossible missionfor example, could not be chosen because he was not ready in time. He also recalls that French films are often at the top of the possibilities for opening, simply because they can more easily decide on an release date.
Asked about the strong American presence this year, Thierry FrĂ©maux is enthusiastic: “ The American selection is very beautiful. There are two first films and confirmed filmmakers like Spike Lee. As American cinema is going through a period of doubts – among others because of the strikes of screenwriters – Cannes welcomes a rich program this year. “He also insists on the importance of continuing to invite studios:” This year, we paramount, Apple … »»
Addressing the major current concerns of industry, in particular linked to artificial intelligence, FrĂ©maux adopts a nuanced position: ” It is both interesting and disturbing. Its use must be controlled. The writers are, for example, worried, even if some say they use it. In Japan, an whole novel was written by IA and it was an argument of sale: the first novel in the world written by IA. That said, AI will not invent subtle things, feelings, the scent of a flower …»»
And to add, in a more serious tone: ” Today, it is no longer just a question of protecting copyright, but also the rights of actors. He evokes a disturbing experience in a workshop in Paris, where participants were welcomed … by his own voice generated by IA. “” It is scary “, He admits.
The success of International Cannes Films, especially Oscars, is also discussed. Fremals underlines the multiple causes: the quality of films, the work of distributors like Neon, who had done an excellent job on Anatomy of a fallbut also the mobilization of the press, or sometimes the winners themselves. “” It is you, the press, who talks about these films around the world. I also thank Sean Baker for recalling, by receiving his Oscar, that it all started here in Cannes. ” From Parasitethe golden palm seems to find a growing echo with the American Academy, marking a turning point in the recognition of non -English -speaking films.
A more unexpected intervention concerns a recent declaration by Brigitte Bardot, who judges the festival filled with “bad films and bad actors”. FrĂ©maux’s response is both scathing and measured: ” Brigitte Bardot was extraordinary in an extraordinary moment of cinema, but I do not think that she has the competence today to judge, except as a spectator. Cinema is not separated from nostalgia, but we cannot build a speech solely on memories. »»
Another sensitive subject is then addressed: the choice of the festival to highlight artists taking risks, like Mohammad Rasoulof, the Iranian director rewarded in 2024 for The seeds of the wild fig. Thierry FrĂ©maux replies: ” The filmmakers take risks to make their films, it is not new. If we talk about Iran, the need for freedom of women for example, it is normal to see Iranian filmmakers taking these subjects, such as Argentinian filmmakers who speak of the missing in Argentina … These are their stories, they write and film them, at the risk of many, prison at least. It’s difficult, they have to make choices. But we only select these works if they are of high quality. It is not a political inclination, but an artistic inclination. »»
In this same spirit, he recalls that Cannes, faithful to his commitment to fighting filmmakers, also gives this year an important place to Ukraine, with a day of solidarity and the screening of three films.
When the press questions the general delegate about any customs tariffs that Donald Trump wishes to impose on foreign films, the answer: ” We’ll see it next year. I am not an economist and Trump says one thing and then his opposite. “Then, more thoughtful:” I could tell Trump that the USA is the first country of cinema in the world, with the greatest number of rooms, streaming platforms … There is a job to do. The countries are strong of their peoples, the culture of their peoples … Let foreign films arrive in the USA will help them in their imaginations, help them in creation … but I do not think that Trump is on this plan. »»
On another often debated front, that of the composition of juries, regularly criticized for its lack of diversity of profiles – often limited to directors and actors -, Thierry FrĂ©maux reacts: ” This year, we have a writer, but I hear you. Why not criticism? Yes, why not? A sign of opening, even if the festival habits are well rooted.
The question of masterclasses, this exclusively male year, is also raised. FrĂ©maux specifies that a guest was planned but canceled at the last minute. He continues by highlighting the progress made: ” But the four juries of this edition are chaired by women. We are attentive to parity. You will notice that this year the four juries are chaired by women, and we are happy to have had two years in a row two presidents of the competition jury. »»
On the very sensitive case of Gérard Depardieu, while a court decision is expected tomorrow, Thierry Frémaux is sober and careful: “ As a citizen, I will become aware and I will do with it. If he is condemned, could he have served his sentence, could he come back? We will see. It is always on a case -by -case basis that it is decided. »»
Finally, concerning Netflix, the position remains unchanged: no competition for films that do not come out in French theaters. “” It is a compulsory rule. Some platforms accept this rule and give us their films, others not. They want to keep their films for themselves. So it’s up to them to decide. They can come out of competition. That said, I recognize the creation work that Netflix does. »»
And finally, to the question often asked: why do we always see the same names in competition, in particular the Dardenne brothers? Relativizes: ” If you look at the statistics, the ‘always the same’ always existed: the Fellini, the Bergman … and for a few years, the Dardenne. But they are not the only ones. If you look at the selection, vo “If you look at the statistics, the ‘always the same’ has always existed: the Fellini, the Bergman … and for a few years, the Dardenne. If you look at the selection, you will notice that there are also people who come for the first time. Most of this year’s filmmakers come for the first or second time. Whoever came most if we look at the history of the festival is Ken Loach. And he will come back … If we take the case of Julia Ducournau, after Titanium, his new film Alpha is very interesting and he will arouse debates, and we want this debate to be done here in Cannes. We are like the publishers, we have artists that we support. The Dardenne make a social cinema, but in a particular style … If it is estimated that this cinema is important, why not accompany it? ». An elegant way to recall that, if Cannes remains faithful to certain big names, it also continues to bet on the discovery.
To the question of whether the festival is ready to open up to new innovations and new cinema formats – ” Could the festival consider integrating new formats? ” – Thierry FrĂ©maux replied:” We are in the second edition of the immersive cinema competition. Is it cinema? Immersive art is something else … But what? We try to experience! »»
This answer, both interrogative and enthusiastic, illustrates well the cautious openness of the festival.
Thus ends a dense conference, sometimes serious, often spicy, like the one who directs it. On the eve of the opening, Cannes has already started. And Thierry Frémaux, with his outspokenness and his intact passion, sets the tone.
Good festival to all!
NeĂŻla Driss
