Cannes 2023: Exclusive interview with Thierry Frémaux, General Delegate of the Festival de Cannes, for Variety

Last year around the same time, you were overwhelmed. How is it this year?

 

I’m always overwhelmed around that time of the year! The selection process is in full gear and I’m lucky to have a wonderful team with Christian Jeune, head of the film department, and Stephanie Lamome who joined us as artistic advisor. For the last two years, we had to absorb a surplus of productions due to the lockdown, for movies that hadn’t been released in theaters. The festival wanted to open itself to more films to help them exist. That’s why in 2021 and 2022 the selection was larger. It was a choice. But in 2023, we would like to go back to a more traditional size in order to launch films in the best possible conditions.

 

 

Are you in talks with Apple and Paramount over Martin Scorsese’s film “Killers of the Flower Moon”?

 

Yes, we’re in discussions. For 2023, the important thing is to make sure that Martin Scorsese attends with his new film which is an important work. The last time he came with a film was for “After Hours” in 1986!

 

 

Will Netflix ever return to Cannes?

 

Netflix films are welcome. Since they don’t come out in theaters they can premiere out of competition. Netflix is a big success story and a home for many film professionals; their movies would be welcomed triumphantly and benefit from a wonderful launchpad thanks to the festival. I’d like to convince them to come, to not stand aside. But I know they wish to be in competition – Ted [Sarandos] has a competitive spirit!

 

 

Your rule must change at some point, right? 

 

The world is changing, but Cannes is a film festival that defends theaters.  But the arrival of platforms and their contribution to the creative world is as important on a global scale. French windowing rules are already evolving and will continue to do so. The administration board of the Cannes Film Festival dedicates a lot of time to this issue. We discuss Netflix very often, and these are always enriching debates.

 

 

So Netflix will continue going to Venice…

 

It’s clear that the Mostra profits from Netflix movies. But we don’t have the same culture or recent history. At Cannes, we make it mandatory for the opening night movie to be released the same day in theaters, whereas at Venice last year, the opening night slot was reserved for a (streaming) platform. That would be inconcevable in France.

 

 

With Vincent Lindon in 2022 and Ruben Ostlund this year, it seems clear that Cannes doesn’t give in to the hype of having stars presiding over the jury. How do you assemble a jury? 

 

Stars and auteurs aren’t incompatible. Cate Blanchett proved it recently by being a magnificent jury president. The presence of Ruben Ostlund who won the Palme d’Or twice is the guarantee that we’re going to speak about cinema. We’d like to reaffirm the fact that cinema isn’t just filmmakers and actors, but also crew members, musicians, screenwriters and producers. But it’s more and more difficult to assemble juries.

 

 

Why?

 

Everyone works a lot! When you’re a director you’re making a film for theaters or for a platform. You make a series, you produce a documentary. When you’re an actor, you make films and series. Same with crew members. And when people have one or two weeks of break, they stay home with the kids.

 

 

There’s also yet another man presiding over the jury. Did you try to have a female jury president? 

 

These past few years there’s been more women presiding over the jury. And there is parity in the competition jury. But to answer your question very concretely for 2023, we had a beautiful list of potential female jury presidents and none were available.

 

 

In competition, there’s been slightly more female directors in recent years but never more than five. Can we expect to see more in 2023? 

 

I also hope there will be more. The place of women in film is progressing indeniably. The selections and nominations must reflect this progression more strongly. At the same time, we don’t say enough that in 2021, female directors won Cannes, Berlin, Venice and San Sebastian. It was first time in history. That same year in 2021, in Cannes, female directors won all the prizes: Palme d’Or, short film, Golden Camera, Golden Eye for best documentary, Cinef, etc. We must cheer up about the evolution of things, not just throw our hands up as if nothing was ever changing. Because things are changing.

 

 

Will Cannes screen movies from filmmakers who are considered “canceled” such as Roman Polanski or Woody Allen? Both men have new films.

 

I don’t think Roman Polanski’s film is ready for Cannes. Maybe Woody Allen’s film will be. We will position ourselves depending on the situation.

 

 

We heard that HBO’s series “The Idol” was going to premiere at Cannes?

 

I’ve only seen one episode. It seemed promising.

 

 

What about the next “Indiana Jones”?   

 

I saw it, the film is wonderful. We would be delighted to show it at Cannes.

 

 

There are rumors of Pedro Almodovar’s short opening the Festival. 

 

It’s a short film, I believe, so no, not on opening night. It’s a rumor, but I like rumors, they’re part of the Cannes mythology.

 

 

The festival launched a new section, Cannes Première, two years ago. Are you keeping it?

 

Cannes Première is a success and shows that festival can still evolve. It’s a “mini-section” which allows us to show movies from established filmmakers outside of the competition and to provide them with a spectacular launchpad. Movies like “The Night of the 12” by Dominik Moll and “As Bestas” by Rodrigo Sorogoyen greatly benefited from it. And these films are screened at the Debussy theater, which was the favorite of Jean-Luc Godard — whose name I’m happy to mention. The experience was positive and will be continued.

 

 

What about Un Certain Regard ?

 

More than ever, Un Certain Regard is a section dedicated to young, original and experimental cinema. It’s meant to be about discoveries and emerging filmmakers. The selection of 2022 was a great harvest. We presented the films of 11 female directors and 11 male directors and some of them earned great reviews and resonated internationally, for instance “War Pony” from Riley Keough and Gina Gammel which received the Golden Camera, “Plan 75” from the Japanese director Chie Hayakawa, “The Worst Ones,” and “Joyland,” the first film of Pakistani director Saim Sadiq about trans identity which was banned in its home country but was shortlisted at the Oscars, along with (other Un Certain Regard titles) “The Blue Caftan” from the Moroccan director Maryam Touzani and “Mediterranean Fever” from the Palestinian director Maha Haj, to name a few examples.

 

 

How important is it for Cannes to showcase a panorama of world cinema ?

 

Cinema tells the history of the world, and Cannes must tell the history of everyone, and not just that of the occidental world, as it was the case 50 years ago. In the past, Asian cinema was summed up by Japan and since the start of the 2000s, Korea, Singapore, Thailand and China have emerged. In Eastern Europe, it was all about Poland for a long time (wonderful memory of Skolimowski last year), and it’s now Hungary’s turn, and Romania, with the emerging of a formidable new generation. Northern Europe also has something to say, and how so! With Ruben Ostlund and Joaquim Trier, and the Danish, the Icelandic directors. Cannes is the theater of this greater universality, even beyond the competition because these films are also selected for Un Certain Regard and in the short films, at the Cinef, etc.

 

 

How has the world cinema landscape changed?

 

It’s growing ! And we should not forget Spanish, Mexican, English, German and Italian cinema. We hear that Italian cinema is chasing its past glory but I think its contemporary glory is wonderful! Take for example Alice Rohrwacher who presented “The Wonders” and  “Happy as Lazzaro” in competition and came back last year with the short film “Le Pupille” which was nominated for an Oscar after opening in Cannes. And as we noticed a few years ago in Lebanon, Palestine and Israel, there is a new generation of professionals and artists in the Persian gulf. In Dubai, Qatar, Abu Dhabi, as well as in Saudi Arabia. We should get ready to salute the coming of age of this region.

 

 

What do you think about Saudi Arabia hosting the Red Sea Festival ?

 

I went there and met some dynamic young people. Saudi Arabia is a country of 35 million people which promotes local filmmaking, and wants to produce films and allow artists to emerge. We should salute this. Of course, there are geo-political considerations. But Saudi Arabia evolves, especially when it comes to women’s place in society. It progresses, probably not fast enough from our Occidental standpoint but when we see what’s happening in Iran and Afghanistan we have to look at this evolution in a positive light.

 

 

What about Saudi’s Red Sea Festival financing Maiwenn’s next film (“Jeanne du Barry”) with Johnny Depp ? Could Saudi Arabia and Qatar start financing more and more French movies?

 

I don’t know. Qatar finances the Paris football club, so maybe they want to do the same with French cinema? We should ask them. Cinema is an elusive object and we must respect its uncertainty, fragility and magic. Pouring tons of money has never made movies better. To make movies exist, we need artists and professionals first and foremost.

 

 

And freedom of expression…

 

Indeed. Even the Hollywood studios, whose vocation is to generate profit, have always respected this immutable rule. Let’s hope that the movies from the great American auteurs will find back their audiences in the U.S., that the public will once again enjoy the great and beautiful stories for grown ups. We’re happy to see that these films are working well in France. I think our country was the best international territory for Damien Chazelle’s “Babylon” and Steven Spielberg’s wonderful film “The Fabelmans” is thriving over here.

 

 

Do you think that’s partly why U.S. studios are coming back to Cannes ?

 

The friendship between France and Hollywood is historic. Studios have always liked coming to the Cannes Film Festival. It was founded in 1939 and organized in 1946 (after WW2) by France and the United States. 2023 will prove once again the strength of this bond, I’m sure of it! When it comes to American auteur films, they prefer to be released at the end of the year to be closer to the Oscars season. But I must say it again: We can be born in May at Cannes and still be alive in March at the Dolby Theater ! We prove it each year.

 

 

This year was a milestone in terms of Cannes movies at the Oscars. Did you feel that studios were more receptive when you met them recently?

 

Yes, it’s wonderful to see “Top Gun: Maverick” and “Elvis” celebrated at the Oscars as in Cannes. I’ve always been warmly greeted by studios because of what the festival represents for cinema and also because it champions the big screen. I also have very good relationships on a personal level with the heads of platforms. We invited Netflix back in 2017 and way before, we had invited Ted Sarandos for a panel at the Cannes Marché du Film. In 2016, Amazon attended with films by Jim Jarmusch, Park Chan-wook and Woody Allen. HBO and Apple have also presented films in the official selection.

 

 

The war is still raging in Ukraine. Will you invite Volodymyr Zelensky to make a speech on opening night like you did last year? 

 

This war of agression must stop in the first place. I’ll say it on a personal level and I’m not the only one. Last year, we felt the urge to express our solidarity with Ukraine and our political opposition to the war, and to Russia’s hawkish attitude. President Zelensky made a very beautiful speech, a cinephile’s speech. We wanted to invite him also because he’s a comedian, someone who comes from our world. The engagement of artists has also been sacred for the film world in general and for France in particular. We were proud to give him this time to speak. We must continue to express our support. Especially since Ukraine has always been a big country of cinema with a young generation that expresses, through films, its fierce willingness to defend their country’s independence.

 

 

What did you think of the Oscars this year? 

 

I thought the ceremony was very good and I was happy to see Michelle Yeoh rewarded (and disappointed that Steven Spielberg wasn’t, because his film is a love letter to cinema). I don’t understand either why “Triangle of Sadness” can’t vie for a best international film Oscar, even if it’s in English. How can a non-American film win the Oscar for best film since it’s a ceremony in honor of American cinema? “Parasite” won, it’s great, but it’s a Korean film. The Oscar for best film must go to an American film, like the Cesar for the best film goes to a French film and the Goya goes to a Spanish film.

 

 

TikTok is one of your sponsors since last year. Are you continuing with them? 

 

We partnered with TikTok for the first time in 2022 to address younger and more international audiences. In France, TikTok has collaborated with the best cultural institutions, working with the Louvre Museum, the Château de Versailles and now with Cannes. We’re happy to contribute to making the festival more accessible to younger people. And numbers are really impressive. We also know that TikTok raises a lot of questions from governments because it’s a Chinese firm. When it comes to us, we’re looking at how creators are remunerated and TikTok is reassuring us on their intentions. So we’re happy about the results of this partnership and the human relationship we have forged with them, but we are, along with the new President Iris Knobloch, mindful that the engagements that TikTok has taken must be respected.

 

Interview by Elsa Keslassy for Variety.