Since 1946 the Cannes Film Festival has been the world’s most prestigious film festival. And its selection includes a great number of world premieres and independently produced films. Some of which go on to win Academy Awards. Especially for some after winning the festival’s highest achievement, the Palme d’Or.
There are a variety of film festivals which take place all over the world, throughout the year, that are dedicated to showcasing all new up-and-coming films. Whether they be future blockbusters, indie-hits, or the most unknown artists. Cannes, however, feels like it is an exclusive festival. Allowing only a select few to be allowed to view the collection.
This year I decided to visit Cannes during the festival season. And, if possible, I would try to see any films that could be available to the public. Or even beg outside the theatre, like people have discussed doing in the past. It turns out that for a number of years now, the festival has taken a small number of films from their curation and screened them for members of the public.
Though these tended to be smaller, less-known, French films, I believe it is a positive thing for the festival to be doing. As opposed to keeping the public cut off from such a big event. Being in Cannes for just the last few days at the end of the festival, I chose to try this public attending method. Which allowed me to see some films. However, when it came to begging on the streets for tickets – as I did witness work for some – I chose not to do this.
After previously attending the Toronto International Film Festival, BFI’s London Film Festival, and Berlinale in Berlin, being in Cannes as a member of the public during the festival time period felt very isolating. In the vicinity of the festival quarters, or pretty much anywhere in the city, anyone who was accredited for the festival wore their badges. And if you knew the festival was going on and weren’t wearing one, it felt slightly restricted. There is definitely a split between the public and the accredited members of the festival throughout its duration.
Though it felt like there were separations between the public and the accredited, as previously stated I did manage to view a few of the festival’s films. I watched two screenings of films that were part of “Le Semaine de la Critique”: Nino (Loquès, 2025) and Dandelion’s Odyssey (Seto, 2025). As well as two from “The Directors’ Fortnight”: The Girls We Want (Car, 2025) and Sorry, Baby (Victor, 2025). Films that were either from new directors, or independently produced. Sorry, Baby remains the most profound of the four I viewed. And has definitely resonated with many viewers. As well from the looks of the reviews and reception it, and director Eva Victor, have received.
While I am not sure how well it would have worked to beg for tickets to films without an accreditation, I lucked out. Through contacting the right person, received a ticket to the midnight screening of the world premiere of Honey Don’t! My review of the film can be read here at W Spotlight. It was truly a saving grace of my festival experience, being able to see how the Cannes Film Festival premieres work. And my goodness, the standing ovation at the end quite a sight. Even Aubrey Plaza herself wondered why we continued to clap for so long – seen as she whispered to costar Charlie Day beside her.
While the festival sure does allow many films to see the light of day, and into the sights of potential buyers, as a young person who wishes to enter into the industry – in hopefully a journalist capacity – in the future I will definitely be attending the festival with an accreditation, versus attending it as a member of the public.
