At the pre-opening press conference of the 77th edition of the Cannes Film Festival, General Delegate Thierry Frémaux addressed a wide range of questions, from criticisms about a perceived lack of renewal in the Official Competition to current political and technological issues, including the impact of artificial intelligence on the film industry and the state of Argentine cinema under Javier Milei’s government.
Responding to claims that the festival tends to select the same directors year after year, Frémaux was firm: “It’s a mistaken perception. If you look at the statistics, it’s simply not true.” He pointed to several filmmakers competing for the first time this year, including Ari Aster (Eddington), Carla Simón (Romería), and Chie Hayakawa (Renoir). “Yes, the Dardenne brothers are back for the ninth time with The Young Mother’s Home, but there are also many new names. Julia Ducournau returns for the second time, Joachim Trier for the third, and Wes Anderson for the fourth. It’s a mix that reflects a tradition of loyalty while also opening up to new voices.”
On Ducournau—winner of the Palme d’Or in 2021—Frémaux praised her new film, Alpha, and said it would likely spark one of the festival’s most important discussions. “We’re interested in provoking conversation. Cannes has always been a space for that.”
One of the most striking moments of the press conference came when Frémaux was asked about the absence of Argentine feature films in the Official Competition—this year, the only Argentine selection is Tres, a short film by Juan Ignacio Ceballos screening in the Cinéfondation section. Frémaux did not avoid the question and expressed concern over the weakening of Argentine cinema in light of recent government policies. “I wouldn’t say we’re already seeing the direct effects, but cutting funding for cinema—especially through the INCAA—is a mistake. Cinema is memory, it’s cultural identity, it’s a tool for understanding the present and building the future.”
While avoiding the suggestion of any boycott or editorial bias in programming, Frémaux stressed that the ultraliberal policies of Argentina’s current administration threaten one of the world’s most respected film industries. He also reminded the press that Cannes and the Marché du Film have long supported Latin American cinema through Ventana Sur, the film market traditionally held in Buenos Aires, which was temporarily relocated to Montevideo due to economic reasons. “In 2025, it will return to Buenos Aires, from December 1 to 5 at the Palacio Libertad. That’s a sign of hope,” he added.
Frémaux also addressed the challenges posed by artificial intelligence in audiovisual creation. “It’s already here; it’s not a future threat, but a tool that’s already being used—and it can be as fascinating as it is dangerous,” he explained. He recounted that during a recent training session, the festival team used an AI-generated replica of his own voice. “It was unsettling. It was my voice, saying things I never said. That’s scary. It confronts us with a problem that is no longer just technical or artistic, but deeply social.”
He stressed the urgent need for regulations that protect artists’ and authors’ rights. “Artificial intelligence cannot override copyright. We must ensure that actors and creators retain control over their image and their work. And we must do it now.”
The press conference also addressed the issue of gender balance at the festival. Frémaux acknowledged that a last-minute cancellation in the Rendez-vous program—originally set to include a female guest—resulted in a male-heavy lineup. However, he highlighted the presence of four women heading juries this year, including Juliette Binoche presiding over the Official Competition jury. “It’s the first time since the 1960s that we’ve had female jury presidents two years in a row. Sixty years have passed since Olivia de Havilland and Sophia Loren. That’s a scandal,” he admitted.
On the pending court verdict involving actor Gérard Depardieu—accused of sexual assault and expected to receive a ruling on Tuesday, May 14—Frémaux responded cautiously, speaking “as a citizen”: “I respect the justice system of my country. We’ll wait for the ruling. After that, each of us will have to make decisions—the festival, the public, the press. It will depend on the specific case. That’s why I’m glad this press conference is today, and not tomorrow.”
The 2025 edition of the festival will open tomorrow with a special screening of Amélie Bonnin’s Leave One Day, and a tribute to actor Robert De Niro, who will take part in a public talk on Wednesday. That same day, the world premiere of Mission: Impossible – The Final Reckoning will be held. While its team will be doing minimal press, Frémaux defended the film’s inclusion: “It’s the kind of cinema we love. We want to pay tribute to Christopher McQuarrie, a director who has managed to create within a rigid system, just as Truffaut or Rivette once did. That too is cinema.”
