72nd Annual Cannes Film Festival: The Splendours and Miseries
72nd Annual Cannes Film Festival, Cannes, France —Cannes, France — Cannes, the pinnacle of cinema's most prestigious gatherings, remains a place where the lines between reality and spectacle blur. It’s a festival where the allure of the red carpet often eclipses the films it was meant to celebrate.
By Kristina Moskalenko
Arrival and Anticipation
For many, Cannes is an annual pilgrimage—a chance to immerse themselves in the fantasy of glamour. Some locals save for months to hire extravagant cars, don white jeans and pointy shoes, and spend the week living out their dreams of opulence. Others, many of whom have lived in the region for decades, can only watch from the sidelines. Standing outside the Palais des Festivals, clutching signs begging for tickets, they hope for a glimpse of the films that remain inaccessible to the “ordinary” French. Inside, it’s the industry elite and global stars who occupy the coveted seats, leaving those outside at the mercy of the elements.
But don’t lose heart—there’s always the “red carpet” at the train station. Some festival-goers have been known to slip into glamorous dresses at the nearest Starbucks, add a touch of glitter, and pose for photos right there. The shots, cleverly framed, often pass as authentic red-carpet moments. The festival doesn’t seem to mind; it’s all part of the show.
Gatecrashers: Creativity Meets Chaos
Gatecrashers have turned sneaking into Cannes events into an art form. Disguises range from pregnant women with an “urgent need for the restroom” to individuals claiming lifelong friendships with the ever-elusive “Mr Smith,” who conveniently appears on every guest list. Others name-drop obscure B-list directors or lesser-known celebrities like boxer David Haye, banking on security’s inability to recognise them. Their creativity is, admittedly, impressive. Once inside, these interlopers head straight for the tables, snapping pictures of abandoned menus and floral arrangements to craft the illusion of attending exclusive dinners. It’s brazen and audacious, but this uninvited crowd often goes unnoticed, serving as a curious buffer between the red-carpet elite and the serious filmmakers who prefer to avoid the spectacle entirely.
It only looks logical in these circumstances that the dark comedy «Parasite» by the South Korean director Bong Joon-ho won Festival’s top prize, the Palme d’Or. The film talks about disparity between rich and poor, reality and a dream, class conflict, social inequality and wealth disparity. Things that you see in full bloom every May right in the heart of Cannes.
Why Celebrities Don’t Stay Long
For celebrities, Cannes events are fleeting. They make brief appearances, pose for a few photos, and retreat to waiting cars. Staying longer risks being caught in an endless flurry of selfies and small talk. While some adventurous A-listers linger to soak in the excitement, most prefer a quick escape.
The festival’s wild energy has also made some iconic venues rethink their involvement. Take Château de la Napoule, for instance. Once a hub for glamorous Cannes parties, it no longer hosts festival bookings. The aftermath of these events—trampled bushes, ruined floors, shattered glass—is chaos reminiscent of World War II, when the château was used to safeguard artwork. Nowadays, it sticks to hosting weddings and Cannes Lions, which are far more manageable.
The Evolution of Soirées
A New Vibe for Cannes Parties
Gone are the days of opulent villa banquets. Cannes parties now exude a more laid-back, hipster vibe, even for luxury brands like Chopard. This year La Palestre arena, for example, is drenched in neon pink lights, adorned with gold foil, and lined with mirrors and fake cherry blossom trees—a selfie enthusiast’s dream. Cigarette smoke lingers in the air, and Mariah Carey either lip-syncs or performs live; it’s often hard to tell.
Meanwhile, young, beautiful women hold onto their dreams of glamour. After a few drinks, they’re twerking in Chopard necklaces—a juxtaposition of high luxury and carefree fun.
As the night unfolds, the energy ramps up. DJ Cassidy spins hit after hit, Madame Shoifelle twirls in neon pink, and champagne flows in abundance. The women, glowing with highlighter and confidence, shine as brightly as the décor. A successful Cannes party? It’s all about the right DJ, endless drinks, flattering lighting, and an Instagram-perfect selfie spot.
The Red Carpet: A Wild Spectacle
And what of the red carpet? It’s becoming an unpredictable show, nearly impossible to control. Imagine being invited to a screening of a Diego Maradona documentary, only to find yourself walking alongside a woman in a green dress spinning wildly for photographers. She teeters dangerously on her heels, blowing kisses as guards attempt to usher her along.
At some point the cameras accidentally caught her underwear on the big screen in the iconic cinema. The audience gasped, but she seemed unbothered, even lifting her dress herself to flaunt the spectacle. By the time the cameraman regained composure, she had somehow made it to her seat. These chaotic moments often steal the spotlight, detracting from the sophistication of the films being celebrated.
Still, red-carpet rules remain strict. Sneakers at Cannes? Absolutely not.
Cannes: Glamour Meets Substance
Beneath the glittering façade, Cannes remains rooted in its true purpose: celebrating cinema. While the red carpet dazzles, the real action happens behind closed doors, where directors, writers, and producers strike deals and form collaborations. This quieter, more serious side of Cannes feels far removed from the chaos, grounded in meaningful work.
Take the Coutts yacht, for instance. Here, legendary British director John Irvin might recount stories from his days at the London Film School, his collaborations with icons like Patrick Swayze and Arnold Schwarzenegger, or his film about Nelson Mandela. For journalists hungry for genuine stories, this side of Cannes is a goldmine.
Women at Cannes: Progress in Style
The #MeToo movement has left its mark on Cannes, pushing for greater gender equality in jury selections and award categories. The festival has even relaxed its notoriously strict dress code—flat shoes and braless outfits are now welcomed, blending southern French chic with modern practicality.
Yet, some traditions remain stubborn. During the closing ceremony, Sylvester Stallone described directors as magicians, exclusively using masculine terms. The irony? Right after that speech, Senegalese filmmaker Mati Diop became the first black woman to win the Grand Prix, showing that Cannes is slowly but surely evolving.
When the Credits Roll
Once the closing ceremony wraps up, Cannes swiftly dismantles its temporary glamour. Beach gardens are stripped of orchids, mirrored installations vanish, and the Carlton Hotel sheds its elaborate décor. Cranes dismantle rooftop stages, and the city retreats into its everyday rhythm.
It’s like the set of a film being taken apart—a poignant reminder that Cannes, at its core, is an illusion. Like cinema itself, it’s a dream that fades as the credits roll.
