The Salle du Soixantième will be renamed Salle Agnès Varda
Originally named for the 60th Festival de Cannes, the Salle du Soixantième, located on the rooftop of the Riviera since 2007, will be renamed “Salle Agnès Varda”.
“I don’t just want to show, but also make people want to see”, she said. She got her Honorary Palme d’or, then her official poster: Agnès Varda was the picture of passion, affection and mischief. Sixty-five years of creation and experimentation, almost as long as the Festival de Cannes, which celebrates, like her, gazes, lives and worlds; and knows how to remember.
“I am not a woman filmmaker, I am a filmmaker,” she said. She often came to Cannes to show her films: thirteen times in the Official Selection. She was also a member of the Jury in 2005 and President of the Caméra d’or Jury in 2013. When she was awarded an Honorary Palme d’or in 2015, she mentioned “resistance and endurance, more than honor” and dedicated it “to all the inventive and courageous filmmakers, those who create original fiction or documentary films, who are not in the limelight but who carry on”.
Henceforth, a now essential Festival screening room will bear her name: the Salle Agnès Varda, formerly Salle du Soixantième. Every spectator will feel the symbol, the value and emotion.
Rosalie Varda and Mathieu Demy, her children, declare : “We are proud and moved that the Festival de Cannes is honoring again the great little Agnès by giving her name to the pop-up theater of the Palais. Agnès and Cannes share a long story, with Cléo from 5 to 7 in Competition to begin in 1962, a fairy tale when Jacques Demy won the Palme d’or in 1964 for The Umbrellas of Cherbourg, then Faces Places Out of Competition in 2017, without forgetting this magical evening when Agnès was awarded her Honorary Palme d’or. Between these special moments, all our memories remain, memories of films, of film families, memories of wonderful parties. Long live the Festival! Long live filmmaking!”.
Ruben Östlund President of the Jury of the 76th Festival de Cannes
50 years after fellow citizen Ingrid Bergman, Swedish director Ruben Östlund, a two-time winner of the Palme d’or, will preside over the Jury o
« I am happy, proud, and humbled to be trusted with the honor of Jury president for this year’s Competition at the Festival de Cannes. Nowhere in the film world is the anticipation as strong as when the curtain rises on the films in Competition at the Festival. It is a privilege to be part of it, together with the Cannes audience of connoisseurs. I am sincere when I say that cinema culture is in its most important period ever. The cinema has a unique aspect – there, we watch together, and it demands more on what is shown and increases the intensity of the experience. It makes us reflect in a different way than when we dopamine scroll in front of the individual screens », declared the futur President Ruben Östlund.
With a track record of only 6 features, the filmmaker was already selected twice at Un Certain Regard, where he was awarded the Jury Prize in 2014, before later entering the Competition. No sooner does he appears there that the Palme d’Or is awarded to him twice; first for The Square at the 70th Festival de Cannes, and then for his next film acclaimed last year, Triangle of Sadness.
After studying cinema in Gothenburg, he directed his first feature film, The Guitar Mongoloid, in 2004. On the edge of the documentary genre, the film describes the intersecting destinies of outcasts in a fictional city that closely resembles Gothenburg. Humor as a tool of sociological description is already apparent.
His next short film, Autobiographical Scene Number 6882, gathers all the ingredients of his future work, which are affirmed in Involuntary, a feature film selected at Un Certain Regard in 2008. Östlund positions the camera at a relevant distance to better observe human behavior: small weaknesses and major flaws caused by group dynamics are then dissected to the point of discomfort. Two years later, Incident by a Bank won the Golden Bear for best short film at the 60th Berlinale – it examines the reactions of passers-by to a bank robbery. His third feature film, Play, which was presented at the Directors’ Fortnight in Cannes in 2011, describes harassment between youth gangs. When it was released in Sweden it gave rise to a major debate across Swedish society.
In Force Majeure, which was screened at Un Certain Regard in 2014, the situation takes on the aspect of an avalanche where a father prefers to take cover rather than save his wife and children: how can he accept the aftermath, in bad faith and in fear of losing face? Such is the issue that the director examines with ferocious acidity.
Ruben Östlund repeatedly explores a provocative dialectic which has become his signature: an initial situation sets the stage for a sociological examination where the baser instincts of our humanity are painstakingly and uncompromisingly examined with corrosive humor.
In 2017, in The Square, he tells the fictional story of an artistic experiment he conducted in his native country. The film addresses brilliantly the boundaries of public space, art and the animal aspects within ourselves.
Finally, in 2022, Triangle of Sadness chronicles a cruise ship caught in a storm that reshuffles the cards of class struggle in Western societies in a nauseating hullabaloo.
By inviting Ruben Östlund to preside over the Jury, the Festival de Cannes wishes to pay a tribute to films that are uncompromising and forthright and which constantly demand that viewers challenge themselves and that art continue to invent itself.
Ruben Östlund has therefore become the third two-time winner of the Palme d’or to be the President of the Jury, following Francis Ford Coppola and Emir Kusturica, and the very first to take on this role the year after his acclaim in Cannes.
« As President, concludes Ruben Östlund, I will remind my colleagues in the Jury about the social function of the cinema. A good movie relates to the collective experience, stimulates us to think and makes us want to discuss what we have seen – So let’s watch together! ».
f the 76th edition of the Festival de Cannes to be held from May 16 to 27.
The Official Selection of the Festival de Cannes at the Oscars 2023
The Academy Awards nominations were announced this Tuesday, January 24th. The Festival de Cannes is delighted to see the films of the Official Selection, represented in 15 categories and cumulating 21 nominations: Best Picture, Directing, Actor in a leading role, Visual effects, Cinematography, Film editing, Production design, Makeup and hairstyling, International feature, Documentary feature, Short Film (Live Action), Original song, Original screenplay, Adapted screenplay, Sound and Costume design.
The Festival de Cannes wishes good luck to all these artists for the ceremony to be held on Sunday, March 12 in Los Angeles.
Festival de Cannes 2022 – Out of Competition
Actor in a leading role (Austin Butler)
Cinematography (Mandy Walker)
Film editing (Matt Villa, Jonathan Redmond)
Production design (Catherine Martin, Karen Murphy, Bev Dunn)
Makeup and hairstyling (Mark Coulier, Jason Baird, Aldo Signoretti)
Sound (David Lee, Wayne Pashley, Andy Nelson, Michael Keller)
Costume design (Catherine Martin)
TOP GUN: MAVERICK
Festival de Cannes 2022 – Out of Competition
Visual effects (Ryan Tudhope, Seth Hill, Bryan Litson , Scott R. Fisher)
Film editing (Eddie Hamilton)
Music – Original song (Hold My Hand by Lady Gaga and BloodPop)
Writing – Adapted screenplay (Ehren Kruger, Eric Warren Singer, Christopher McQuarrie, Peter Craig, Justin Marks)
Sound (Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, Mark Taylor)
TRIANGLE OF SADNESS
Festival de Cannes 2022 – Competition – Palme d’or
Directing (Ruben Östlund)
Writing – Original screeplay (Ruben Östlund)
ALL THAT BREATHES
Festival de Cannes 2022 – Special screenings
Documentary feature film
Festival de Cannes 2022 – Competition – Grand Prix
International feature film
Festival de Cannes 2022 – Competition – Jury Prize
International feature film
Festival de Cannes 2022 – Premiered as part of the “Rendez-vous avec”
Short Film (Live Action)
The Festival de Cannes demands the immediate release of filmmakers Mohammad Rasoulof, Mostafa Aleahmad and Jafar Panahi
On Friday, July 8, 2022, Iranian filmmakers Mohammad Rasoulof and Mostafa Aleahmad were arrested and imprisoned at an unknown location for protesting against violence against civilians in Iran. Mohammad Rasoulof had already been deprived of his freedom of movement and work since 2017, following the screening of his film A Man of Integrity, which won the Un Certain Regard Award at the 70th edition of the Festival de Cannes. His films Manuscripts Don’t Burn, which won the Fipresci Prize in 2013 and Goodbye, which won the Best Director Prize at Un Certain Regard in 2011, had also been screened in Cannes. He had subsequently won the Golden Bear at the Berlin Festival in 2020 with There is No Evil.
Today, on Monday, July 11, Iranian filmmaker Jafar Panahi was also arrested in Tehran. The director presented numerous works at Cannes, including Three Faces, which was selected in Competition in 2018 and awarded the Prize for Best Screenplay, as well as Crimson Gold, which won the Jury Prize at Un Certain Regard in 2003. Jafar Panahi also won the Golden Bear at the Berlinale in 2015 for his film Taxi.
The Festival de Cannes strongly condemns these arrests as well as the wave of repression obviously in progress in Iran against its artists. The Festival calls for the immediate release of Mohammad Rasoulof, Mostafa Aleahmad and Jafar Panahi.
The Festival de Cannes also wishes to reassert its support to all those who, throughout the world, are subjected to violence and repression. The Festival remains and will always remain a haven for artists from all over the world and it will relentlessly be at their service in order to convey their voices loud and clear, in the defense of freedom of creation and freedom of speech.