The Ceremony, in a far-from-stable context
The 79th edition of the Cannes Film Festival, taking place from May 12 to May 23, 2026, once again confirms itself as the cornerstone of global auteur cinema, as well as a fundamental launchpad for the international audiovisual market. This year, the atmosphere appeared more restrained than usual, without however losing its classic touch of glamour and industry prestige.
Cannes 2026 lights up the French Riviera amid a climate marked by geopolitical tensions - first and foremost those between the United States and the Middle East - which are affecting markets across the board, also impacting the world of visual arts and, in particular, the film industry, which is still partly recovering from the Covid-19 pandemic crisis and is now also confronting the growing pervasiveness of Artificial Intelligence.
The Festival’s official poster pays tribute to Ridley Scott’s cult masterpiece Thelma & Louise, featuring images of the iconic Susan Sarandon and Geena Davis: a far-from-random choice, reaffirming the themes of female independence and creative artistic freedom.
The international jury of the Festival
The jury of the main competition is chaired by South Korean director Park Chan-wook, author of cult films such as the thriller Oldboy - winner of the Grand Prix at Cannes 2004 - and the critically acclaimed romantic drama Decision to Leave, which received the Prix de la mise en scène at Cannes in 2022.
Chan-wook’s presence alone highlights the Festival’s intention to place auteur cinema, non-mainstream Hollywood filmmaking, and emerging international sensibilities at the forefront. Other prominent members of the jury include:
- Oscar-nominated actress Demi Moore
- Oscar-winning director and screenwriter Chloé Zhao
- Swedish actor Stellan Skarsgård
- Actress Ruth Negga
- Director and screenwriter Laura Wandel
- British screenwriter Paul Laverty
- Ivorian actor Isaach De Bankolé
- Young director and screenwriter Diego Céspedes
What are the most anticipated motion pictures?
The official selection of the 2026 Festival is distinctly focused on international auteur cinema, with 22 films competing for the Palme d’Or. Several of them are already considered potential contenders for next year’s Academy Awards. Among the most anticipated titles are:
- Paper Tiger by James Gray (USA, Brazil, Italy) — in competition
- The Man I Love by Ira Sachs (USA) — in competition
- Amarga navidad by Pedro Almodóvar (Spain) — in competition
- Histoires parallèles by Asghar Farhadi (France, Belgium, Italy) — in competition
- Hako no naka no hitsuji by Hirokazu Kore-eda (Japan) — in competition
- John Lennon: The Last Interview by Steven Soderbergh — special screening
The Red Carpet, the “Business of Glamour,” and the Festival’s economic weight
Many of the stars seen on the Croisette were among the most prominent figures in world cinema. Among those illuminated by the paparazzi’s flashes were jury member Demi Moore, acclaimed director Peter Jackson, actress Jane Fonda, actors Elijah Wood, James Franco, and Adam Driver, as well as actresses Barbra Streisand and Julianne Moore.
One of the highlights of the opening night was the presentation of the honorary Palme d’Or to Peter Jackson, introduced by Elijah Wood in what became a nostalgic reunion of The Lord of the Rings. (It is worth remembering that Wood portrayed Frodo Baggins in the dark fantasy trilogy that became a milestone in cinema history.) During the ceremony, Barbra Streisand will also receive an honorary Palme d’Or.
The Festival revolves around distribution deals, international co-productions, and commercial strategies developed within the Marché du Film, the financial heart of the event. The presence of renowned auteurs such as Almodóvar, Farhadi, and Kore-eda increases the international value of the competing films, while major studios and streaming platforms use Cannes as a strategic observatory to identify the future flagship titles of the film season and the upcoming Oscars race.
At the same time, Cannes remains a global platform for the business of glamour, where fashion, jewelry, and beauty intersect with the symbolic power of cinema. The new dress code introduced this year - placing restrictions on sheer outfits, oversized silhouettes, and accessories deemed non-compliant with the protocol - has reignited the debate between freedom of expression and the protection of the “Cannes” brand image.
Within this balance between luxury and industry, it is impossible not to think of Peter Jackson and his iconic trilogy, which generated nearly 3 billion dollars at the worldwide box office: an emblematic case of how cinema can evolve into a global cultural, financial, and commercial phenomenon.
Andrea Pelucchi