From the glamour of couture dresses to the somberness of political statements, the 78th Cannes Film Festival is serving cinema with a side of reality. This year’s edition is more than a celebration of film— it’s a mirroring of the world around us.
The annual Cannes Film Festival, now celebrating its 78th edition, has arrived. It is as much about cinema as it is about fashion. From major studio releases to indie productions seeking distribution, Cannes—set against the picture-perfect backdrop of the French Riviera—is a vital space for the global film industry.
It is also worth remembering that Cannes is not solely about American cinema. Yes, the stars who tend to dominate media coverage are often from the United States. However, with each passing year, the competing and non-competing selections reflect a much more diverse cinematic landscape, far beyond American or British productions.
The festival will run from May 13–24, and much will have unfolded by the time it wraps. What we do know is that Scarlett Johansson—everyone’s favourite female superhero, Black Widow from Marvel’s Cinematic Universe—is making her directorial debut with Eleanor the Great. Harris Dickinson and Kristen Stewart will also present their first directorial efforts with Urchin and The Chronology of Water, respectively. The standing ovations will be longer than your average Oscar, Golden Globe, or Grammy acceptance speech. Some will be well-deserved; others, perhaps not quite as much.
The iconic auteur Wes Anderson will return with his latest film, The Phoenician Scheme. A major Hollywood presence is expected as A-list stars such as Jennifer Lawrence, and Robert Pattinson, are set to appear in the coming days. In the midst of it all, we’ll inevitably turn our attention to the red carpet, pondering who nailed their fashion choices and who may have missed the mark. Where is Stanley Tucci when you need him?
Some artists will generate more headlines for their wardrobe than for the films they bring. Such are the times we live in. Cannes is also a platform for style, where the spotlight often shines just as brightly on a celebrity’s off-screen presence as it does on their on-screen talent. Case in point: Angelina Jolie, who turned heads in 2024 not only for her performance in Maria but also for her magnetic star power. The film landed a distribution deal with Netflix thanks to the splash it made at the festival—yet the Academy Awards still snubbed Jolie for what many viewed as a brilliant performance.
Cannes Jury 2025:
Art, Influence and a Changing World
At Cannes, winning the Palme d’Or is a career-defining moment. But who is on jury duty?
Each year, a carefully curated group of creatives — actors, filmmakers, writers, visionaries — is selected to form the Cannes jury. One among them is chosen to lead as jury president, and this time, that honour falls to none other than Juliette Binoche. A national treasure in France and a global icon, Binoche has collected accolades like they were souvenirs from her travels: an Oscar, a BAFTA, a César, and prizes from the world’s most prestigious film festivals — Venice, Berlin, and yes, Cannes itself. This year, she takes over the reins from last year’s jury president, Barbie director Greta Gerwig. But Binoche has brought more than just cinematic clout to the Croisette.
At the festival’s opening night, she paid tribute to Fatima Hassouna — a 25-year-old Palestinian photojournalist killed in an Israeli airstrike last month, just after learning that a documentary featuring her, Put Your Soul on Your Hand and Walk, had been selected to screen at Cannes. “She should have been with us tonight,” Binoche said, standing in front of a sea of tuxedos and gowns, reminding everyone that art and activism have always shared a fragile, powerful alliance.
The tribute wasn’t the only political ripple across the Riviera. Days before the festival began, more than 380 artists — including Ralph Fiennes, Susan Sarandon and Richard Gere — signed an open letter denouncing what they called “genocide” in Gaza, timed precisely for Cannes’ global spotlight. But the jury isn’t only about solemnity. It’s also about star power, too.
Halle Berry, the only African-American woman to ever win the Best Actress Oscar (for Monster’s Ball, 2002), is bringing her legacy — and a fair share of red-carpet sparkle — to the panel. Whether playing Storm, Catwoman or Bond girl Jinx, Berry’s cinematic history is rich with iconic turns.
She had planned to wear a Gaurav Gupta number with a dramatic train on opening night, but the festival’s last-minute wardrobe changes put a pin in that.
Yes, there are new rules this year — sheer dresses and grand, sweeping trains have been banned from the red carpet at the Grand Théâtre Lumière. “For decency reasons,” the festival’s website now reads, nudity is out, and voluminous gowns are officially off-limits. “I had to make a pivot,” Berry said of her dress dilemma. “But the nudity part, I do think is probably also a good rule.”
Also on jury duty: Jeremy Strong, who may forever be Kendall Roy in our collective consciousness, but at Cannes, he is present for very different. After a Tony, Emmy, and Golden Globe, Strong now steps into the role of Roy Cohn — Donald Trump’s notorious mentor — in The Apprentice, a film competing this year. “Roy Cohn was the progenitor of fake news,” Strong told press. “We’re living in the aftermath of what he created.” His take on the role — and the importance of truth in storytelling — might just be one of the most urgent reflections to come out of this year’s festival.
Alongside Binoche, Berry and Strong, the jury also includes Italian actress Alba Rohrwacher, director Payal Kapadia, Moroccan-French author Leila Slimani, Congolese documentarian Dieudo Hamadi, South Korean filmmaker Hong Sang-soo, and Mexican director Carlos Reygadas. A vibrant, international crew — just the kind of ensemble Cannes thrives on.
Meanwhile, off-screen stories are stirring just as much conversation as the films themselves.
Alana Hadid, elder sister to Gigi and Bella, helped launch Watermelon+, a new streaming platform dedicated to Palestinian cinema, at Cannes. The timing couldn’t be more pointed — more than 100 lives were lost in Gaza the same week. The platform, spearheaded by Palestinian-American brothers Badie and Hamza Ali (with Hadid as creative director), aims to amplify underrepresented voices. “We’re more than our suffering,” said co-founder Hamza. “We’re a warm, creative, funny people.” Their message is simple: storytelling changes perception.
Giants in the same frame
And then came some magnetic starry moments — Leonardo DiCaprio, presenting Robert De Niro with the Honorary Palme d’Or, 51 years after De Niro first arrived at Cannes with Mean Streets. It was a full-circle moment soaked in reverence. DiCaprio, visibly emotional, recalled screaming at De Niro during his This Boy’s Life audition at age 15. “That moment changed my life forever,” he said. “And every once in a while, even the most private giants deserve their moment to be acknowledged.” DiCaprio called him the man who introduced him to Martin Scorsese, and in doing so changed the way he viewed the craft, and shaped an entire generation of actors. As the two left the stage — DiCaprio carrying De Niro’s award — it was a reminder of what Cannes is really about: the quiet legacy of greatness, the power of stories, and the beautiful, tangled mess of art and reality.
Cannes may be synonymous with red carpets and Riviera glamour, but make no mistake — it’s a festival deeply engaged with the times. Whether through its jury, its films, or the moments that happen off-screen, it’s still the world’s most cinematic conversation.
