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Prize winners swarm the stage as Penelope Cruz cheers from the orchestra seats #Cannes

‘Fjord’ directed by Cristian Mungiu starring Sebastian Stan and Renate Reinsve wins the Palme d’or #Cannes

Y sí, fue Cristian Mungiu. La Palma de Oro para Fjord. 👏🏻👏🏻👏🏻

“Put an end to this carnage,” ‘Minotaur’ director Andrey Zvyagintsev tells Putin in #Cannes speech

Pues no, la Palma de Oro no fue para MINOTAUR. ¿’Tons??¿Almodövar? ¿Mungiu? ¿Kore-eda?

Parece que la Palma de Oro será para MINOTAUR, del gran Andrey Zvyagintsev. ¿Será? 🤔

Zoe Saldaña and Demi Moore announce Grand Prix for Minotaur #Cannes

Pawel Pawlikowski accepts shared best director prize for Fatherland #Cannes

Penelope Cruz congratulates directors of La Bola Begra Javier Ambrossi and Javier Calvo who shared best director prize with Fatherlabd’s Pawel Pawlikowski #Cannes

Jury Prize winner Valeska Grisebach for The Dreamed Adventure #Cannes

‘The Dreamed Adventure’ wins Jury Prize in #Cannes Keep up with winners live here: deadline.com/2026/05/cannes…

Virginie Efira and Tao Okamoto share best actress for ‘All of a Sudden’ in #Cannes. They make their way from seats to the stage

Emmanuel Marre wins best screenplay for ‘A Man Of His Time’ in #Cannes

The two actors from ‘Coward,’ Emmanuel Macchia and Valentin Campagne share the best actor prize in #Cannes

Rwandan drama ‘Ben’Imana’ just made history at the #CannesFilmFestival after winning the Caméra D’Or for best first film. Read our interview with Marie-Clementine Dusabejambo, where she talks about directing Rwanda’s first Cannes title and how Haile Gerima and Lee Isaac Chung helped to launch her career deadline.com/2026/05/benima…

Gaspar Noé explains the reason he used Cocaine while filming "Irreversible" (2002): "Most of the movie, I was doing the camera, it was a handheld camera. And I’m not proud of this but — I’m not a cokehead, I get allergic — but there were some members of the crew that were doing coke and when the camera has to go up the stairs, down the stairs and turn around, at a point, my arms were hurting and my friends on the set were giving me coke. And you feel strong and you feel like a superhero, you run up the stairs and turn the camera. I was really happy that helped me achieve the scene. But after two days of shooting up the stairs and down the stairs and turning the camera, I’m not a strong man at all but the camera was very heavy. I had done such a muscular effort that the moment this spell of cocaine was over, the pain started and I could not even raise a glass of vodka.[laughs]" ("Why Gaspar Noé Directed on Cocaine, Masturbated in His Own Film and Shot a Live Birth", Tarek Shoukri, Indiewire, 2015) P.S: On this day, 24 years ago, "Irreversible" (2002) was released in France & India.

"What’s basically wrong with Kubrick’s version of 'The Shining' (1980) is that it’s a film by a man who thinks too much & feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should." --- Stephen King Full Excerpt: "Stanley Kubrick‘s version of 'The Shining' (1980) is a lot tougher for me to evaluate [than 'Carrie' (1976)], because I’m still profoundly ambivalent about the whole thing. I’d admired Kubrick for a long time and had great expectations for the project, but I was deeply disappointed in the end result. Parts of the film are chilling, charged with a relentlessly claustrophobic terror, but others fall flat. I think there are two basic problems with the movie. First, Kubrick is a very cold man—pragmatic and rational—and he had great difficulty conceiving, even academically, of a supernatural world. He used to make transatlantic calls to me from England at odd hours of the day and night, and I remember once he rang up at seven in the morning and asked, “Do you believe in God?” I wiped the shaving cream away from my mouth, thought a minute and said, “Yeah, I think so.” Kubrick replied, “No, I don’t think there is a God,” and hung up. Not that religion has to be involved in horror, but a visceral skeptic such as Kubrick just couldn’t grasp the sheer inhuman evil of the Overlook Hotel. So he looked, instead, for evil in the characters and made the film into a domestic tragedy with only vaguely supernatural overtones. That was the basic flaw: Because he couldn’t believe, he couldn’t make the film believable to others. The second problem was in characterization and casting. Jack Nicholson, though a fine actor, was all wrong for the part. His last big role had been in 'One Flew over the Cuckoo’s Nest' (1975), and between that and his manic grin, the audience automatically identified him as a loony from the first scene. But the book is about Jack Torrance’s gradual descent into madness through the malign influence of the Overlook, which is like a huge storage battery charged with an evil powerful enough o corrupt all those who come into contact with it. If the guy is nuts to begin with, then the entire tragedy of his downfall is wasted. For that reason, the film has no center and no heart, despite its brilliantly unnerving camera angles and dazzling use of the Steadicam. What’s basically wrong with Kubrick’s version of 'The Shining' is that it’s a film by a man who thinks too much and feels too little; and that’s why, for all its virtuoso effects, it never gets you by the throat and hangs on the way real horror should. I’d like to remake 'The Shining' someday, maybe even direct it myself if anybody will give me enough rope to hang myself with." (From Stephen King's interview to Playboy, 1983) P.S: On this day, 46 years ago, "The Shining" (1980) had its limited release in the USA & Turkey.

Cannes 2026. Día 7. Se presentaron dos filmes aspirantes a la Palma de Oro y a la Queer Palm: la serena NAGI NOTES del japonés Kôji Fukada y la turbulenta THE MAN I LOVE de Ira Sachs. Con ellos, la francesa revisionista, NOTRE SALUT de Emmanuel Marre. enfilme.com/notas-del-dia/…

CANNES. Día 6. 2 titanes del cine buscando la Palma de Oro: el ruso Andrey Zvyagintsev presentó MINOTAUR, otro devastador retrato del estado de descomposición de la Rusia de Putin; y Almodóvar vuelviendo a girar los ojos sobre sí mismo en AMARGA NAVIDAD. enfilme.com/notas-del-dia/…

VIDEOS. Inició Cannes con un instantáneo favorito a la Palma de Oro, FATHERLAND del gran Pawel Pawlikowski (IDA), sobre el regreso a casa de Thomas Mann; y del iraní Asghar Farhadi, PARALLEL TALES, tan kieslowskiana como hitchkonianamente embrollada. enfilme.com/notas-del-dia/…