Thierry Frémaux: A Cinema Veteran
Thierry Frémaux, the Delegate Général of the Cannes Film Festival, is found propping up the Majestic Beach’s main bar. The ambiance is electric, with victors being honored after what has been deemed a strong selection process. I boldly ponder about his potential retirement.
Frémaux chuckles softly, “I don’t know. In France, the social contract is something different.” He adds, “Even if I’m fired, I stay,” finishing with a touch of defiance.
With a laugh, he playfully turns the question back to me, teasingly asking when I plan to retire. “I don’t want you to retire,” he says, affectionately patting my arm. “Stay with us.”
Memory Lane: Frémaux’s First Cannes Experience
Frémaux recalls his first visit to Cannes in 1979. He drove from Lyon in a truck and spent the entire festival on the Croisette without watching a single film. “I couldn’t attend any screenings. Every night, I went back to the highway and slept in the car at a gas station.”
Reflecting on the nostalgia, he shares that as the early hours of Sunday dawn, he plans to “pick up my car at the Carlton and return to Lyon, feeling like I was 19 again.”
He continues, “It’s in my tradition to come by car. We need to feel – not forever young, but something close to that. In the screening room, there is no age; everyone is simply a lover of cinema.”
Diversity of Winners at Cannes
We both marvel at the impressive diversity of the award winners, which includes Jafar Panahi, who received the prestigious Palme d’Or for It Was Just An Accident, and Norwegian filmmaker Joachim Trier, who took home the Grand Prix for Sentimental Value. The list extends to Oliver Laxe, whose film Sirât was awarded the joint Jury Prize alongside Berlin-born Mascha Schilinski, director of Sound of Falling. Notably, Nigerian-born Akinola Davies Jr. also received a Special Mention from the Caméra d’Or jury for My Father’s Shadow, presented in Un Certain Regard.
Celebrating Emerging Talents
During the festivities, Nadia Melliti, a French-Algerian actress, was awarded Best Actress for her captivating performance in Hafsia Herzi’s The Little Sister. This story, exploring a young woman’s self-discovery, resonated deeply with audiences. Interestingly, Melliti shares that she was discovered by Herzi’s casting director while “walking along the street,” having no prior acting experience, only coming from a background in sports.
While discussing the representation at Cannes, I express my frustrations to Frémaux regarding the perception that Cannes—or cinema at large—represents only a Western narrative. “Cannes represents the entire world, not just Hollywood and its flashy productions.”
A Global Cinematic Platform
Frémaux nods in agreement, emphasizing that since Cannes’s inception, it has aimed to be “universal.” He recalls John Ford’s famous words: “Be local, you will be universal.”
“Cannes is not just a French film festival,” he asserts. “Its official name is Festival International du Film. It’s an international event hosted in France.” He highlighted the inclusion of Nigerian films in this year’s selections, marking a significant milestone for representation.
“We have films from the Czech Republic, Iran… It’s crucial for us that Cannes remains a journey of discovery,” he elaborates. “What used to be ‘Asian cinema’ was merely synonymous with Japan. Now, we celebrate the creativity from Korea, China, Singapore, and now, Africa—beyond just the former French colonies.”
Cinematic Emotions and Borders
Frémaux is aware of my thoughts on the current American cinematic landscape, particularly with political tensions at play. However, he counters my inquiry eloquently. “In cinema, there are no borders. The language is universal, emotion transcends all barriers—be it geographical or cultural.”
With this sentiment in mind, I ponder if others will agree that Ari Aster’s Eddington reflects a poignant narrative about America’s decline.
Collaboration and New Beginnings
As the night progresses, I find myself engaged in conversation with Renate Reinsve, who shines in Trier’s Sentimental Value. She shares that filming for her upcoming project with Alexander Payne, titled Somewhere Out There, is set to commence in February in locations across Denmark and Ireland.
In the movie, Stellan Skarsgård plays her father, a film director. I can’t help but compare her character to Lear, though without the descent into madness.
Later, I make a brief connection with Elle Fanning, who also stands out in Sentimental Value and in James Mangold’s A Complete Unknown. Fanning elucidates how her recent transition from a film in New Zealand to a beach scene with Skarsgård adds layers of complexity to her character.
Festive Surroundings and Unforgettable Moments
This year’s festival atmosphere was charged with emotions and connections among filmmakers. Akinola Davies Jr. displayed a remarkable commitment to his agent Roxana Adle, who played a crucial role in his success. Between celebrations, he shared a sense of pride when his name was called at the ceremony, and even wore a nod of solemnity for his brother Wale, absent from the festivities.
“To get to me, they’ll have to go through Roxana,” he noted, ensuring his dedicated support system remained intact. He recounted the funny incident of scrambling back to Cannes after receiving the award notification while he was hiking in Marseilles, still dressed casually.
Finally, as I bid farewell, I witness Jafar Panahi quietly absorbing the applause from the crowd, noting that his Palme d’Or win had evoked tears from Cate Blanchett.
With the night wrapping up, the dance floor becomes a tapestry of joy, encapsulating the spirit Frémaux described—a world united in celebration through cinema.