The 79th Cannes Film Festival has concluded, with its long-time general delegate and director, Thierry Frémaux, pushing back against familiar complaints regarding a perceived lack of Hollywood blockbusters and fewer American stars. Marking his 25th year at the helm, Frémaux argues that Cannes has become more intense, efficient, and resistant to the forces reshaping the entertainment industry, such as the acceleration of social media, the logic of influence, and the growing pressure of money. He describes the festival as calmer and friendlier, with its public becoming a significant asset, and asserts that it withstands the upheavals of our era, with cinema reigning supreme on the Croisette.

Frémaux contends that American cinema remains central to the festival, noting that the United States is the second most represented country, with a consistent number of accredited participants. While acknowledging a lighter studio presence, he highlights the attendance of numerous stars, including Adam Driver, Kristen Stewart, Michael Fassbender, Rami Malek, Cate Blanchett, Julianne Moore, Javier Bardem, Penélope Cruz, John Travolta, and Vin Diesel. He also suggests that the impact of the festival's lineup will ultimately be measured during awards season, citing past successes like “Anora,” “The Zone of Interest,” and “Anatomy of a Fall,” and predicting future contention for films such as Palme d’Or winner “Fjord,” “Minotaur,” “Fatherland,” “All of a Sudden,” and “La Bola Negra.”

Addressing the festival's programming strategy, Frémaux defends the role of the Un Certain Regard section, describing it as a key incubator for the next generation of Competition filmmakers. He explains that moving a buzzy title like “Club Kid” into Competition might not have served the film as well. The festival is committed to fostering younger generations, evident in the 72% renewal rate among the 22 filmmakers in Competition, with 11 directors present for the first time and five for the second. This approach ensures a vibrant future for the festival by bringing forward new talents.

Regarding the audience, Frémaux notes a significant shift, with the crowd becoming considerably younger and more enthusiastic cinema fans replacing jaded cinephiles. New rituals have emerged, such as celebrating the festival logo, applauding during screenings, and staying for end credits to hear artists speak. Initiatives like “3 Days in Cannes” for 18-25 year-olds further contribute to this generational renewal, creating a diverse and inclusive atmosphere on the Croisette. He also highlights the festival’s growing connection to French movie theaters, with the opening ceremony and film broadcast in nearly 1,000 cinemas, providing a major launch for films.

The 79th edition was not without its controversies, particularly the petition targeting Vincent Bolloré and Canal+ that dominated headlines. Frémaux criticized the use of terms like “fascist vision” as disproportionate, advocating for dialogue over violent vocabulary. However, he acknowledged legitimate concerns about Bolloré’s openly pursued “ideological project” ahead of France’s presidential election and his growing influence over media, publishing, and culture. Frémaux affirmed the Cannes Film Festival's attachment to freedom of expression for all parties involved, while noting that boos against the Canal+ logo during gala screenings were likely a deliberate act of support for public broadcasting.

Artists at the festival, such as Andrey Zvyagintsev and Nadine Labaki, courageously used their platform to address political and social issues, demonstrating that film professionals do not live outside global events. Frémaux confirmed his ongoing hope that Netflix will return to the Croisette, stating that Ted Sarandos is welcome and that a Netflix comeback “would be a major event.” He pointed to Greta Gerwig’s upcoming Netflix film “Narnia: The Magician’s Nephew,” which plans a strong theatrical rollout, as a step towards bridging the gap between streaming and movie theaters.

Concurrent with the main festival, the Cannes Film Market proved fruitful for industry business, with Berlin-based world sales company M-Appeal closing several international deals. Michiel van Erp’s Dutch drama “Downtown,” which premiered at the market, sold to Dark Star Pictures for North America and Salzgeber for Germany and Austria. Set in the hedonistic gay nightlife of 1980s Amsterdam, the film explores bonds forged on the dance floor before the shadow of disappearances alters the atmosphere. Michael Repsch of Dark Star Pictures praised the film as