Cannes’ Thierry Fremaux Wants ‘Mission: Impossible 8,’ Teases 2025 Fest Lineup and Moves on From the ‘Emilia Perez’ Controversy (EXCLUSIVE)

Prior to the scheduled press conference revealing the film lineup, Thierry Fremaux, head of Cannes Film Festival, has skillfully maintained an air of enigma surrounding this year’s Official Selection, even as speculation runs rampant on social media platforms.

Despite not having an official confirmation from either Cannes or Paramount, Mission Impossible: The Final Reckoning is being hoped to receive approval from the studio soon, according to Fremaux’s statements in an exclusive interview with EbMaster.

Following consecutive milestone screenings at Cannes that led to Oscar-winning films like “Anatomy of a Fall” and “The Zone of Interest” in 2023, and “Anora,” “The Substance,” “Emilia Perez” and “Flow” in 2024, Fremaux indicates he’s been flooded with an unprecedented number of films, particularly from the United States.

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Fremaux notes that a significant surge in submissions has occurred, especially from the U.S., after two consecutive years of Cannes screenings resulted in Oscar-winning films such as “Anatomy of a Fall” and “The Zone of Interest” (2023) and “Anora,” “The Substance,” “Emilia Perez” and “Flow” (2024).

Some people are commenting that the 2025 Cannes Festival appears to be the first one after the strike, but Fremaux notes that “it seems Hollywood is going through a time of change.

It’s anticipated that filmmakers like Jim Jarmusch, Spike Lee, Richard Linklater, Kelly Reichardt, Ari Aster, Kristen Stewart (who is also a director) and Wes Anderson will showcase their films at the Cannes Film Festival, much like Sean Baker did when he won the Palme d’Or and then went on to win Best Picture at the Oscars.

This year’s festival might feature a record-breaking number of female directors in the official lineup, including those competing, following the previous edition’s emphasis on films directed by Coralie Fargeat, Payal Kapadia, Laetitia Dosch, Agathe Riedinger, and Louise Courvoisier.

During a chat with EbMaster, Fremaux discussed the criticism faced by “Emilia Perez” prior to the Oscars, as well as the fact that Cannes has implemented a rule in its film selections addressing the safety, honor, and respect for all contributors. At a time when France is experiencing a #MeToo moment, this was particularly noteworthy. Fremaux, who has just finished making the documentary “Lumiere! The Adventure Continues,” also shared his thoughts on how his understanding of classic films has influenced his appreciation of modern cinema and, in turn, his film selection process.

One week before the big announcement, how far along are you in the selection process?

As the deadline approaches in a week, over half of our choices have been finalized, giving us a clearer picture of our selection. Yet, there are still numerous movies left to review since not all films have arrived at the screening room as yet. Consequently, we will need to watch more than 50 films within eight days – that’s round-the-clock screenings during daytime, evenings, and weekends.

Will it be a similar or bigger competition than last year?

Absolutely, they share a resemblance. Over the years, Cannes has maintained autonomy over its growth, a factor that’s also influenced by our film industry boundaries.

We’re all expecting that “Mission Impossible: The Final Reckoning” will be at Cannes but at this point it’s all rumors. What’s the story there?

The speculation is reasonable since MI8 is set to debut from May 21st to 23rd in numerous countries, considering Tom Cruise’s impressive showing at the Croisette for “Top Gun: Maverick” and our fantastic partnership with Paramount. We eagerly anticipate the opportunity to reconnect with them and welcome fans of both Tom Cruise and Christopher McQuarrie.

Last year you were concerned that the edition would be a letdown due to the impact of the strikes in Hollywood, but it turned out to be one of Cannes’s most successful editions, which launched several Oscar winners.

As a cinema enthusiast, I must admit that each new year brings its own set of uncertainties. After an outstanding 2023, I never thought we could top it in 2024. But lo and behold, 2024 turned out to be extraordinary! Now, as we look towards 2025, the question on everyone’s lips is: what does next year hold for us? The answer will be unveiled on the evening of May 24th! All I can say at this moment is that, under the leadership of Iris Knobloch, our festival president and board chair, we put in our best efforts every year to make the event a success. We do this hand-in-hand with François Desrousseaux, Christian Jeune, Guillaume Esmiol, and all the dedicated teams. We’re all set to create another memorable cinematic experience!

Did you imagine that films like ‘Emilia Perez,’ ‘Anora’ or ‘The Substance’ and even ‘Flow’ could generate such acclaim from audiences and critics internationally, including in the U.S.?

We eagerly anticipate success for the films in our Official Selection, without presuming to predict their outcome. We were confident that “Emilia Perez,” “Anora,” and “The Substance” were exceptional movies. We caught the first one quite early, in February, while the second one was much later, in mid-April, demonstrating that nothing is ever set in stone. Throughout the selection process, it’s crucial to stay composed! “Flow” came as a delightful surprise and solidifies an international auteur animation film. We are particularly proud of “The Substance,” as we were the ones who knew such a destiny awaited this film… though perhaps others might not have agreed! Including it in competition was a wise choice.

Did you feel a bit like a proud father during the awards season?

It’s quite rewarding to observe that the films chosen for Cannes are praised by festival attendees, followed by the jury, critics, the global film market, cinema-goers worldwide, and finally recognized at award ceremonies such as the Oscars, Césars, BAFTAs, Goyas, and so on. It’s important to mention that this connection with Cannes has grown stronger over the past decade.

This year is the first truly post-strike year. Is that reflected in the number of American films submitted to Cannes?

It appears that Hollywood is experiencing a period of transformation, yet it continues to deliver numerous films to us. This has been particularly evident since the Cannes Film Festival has shown that a movie can be born there and still thrive at the Oscars, which is a significant event. After the 2023 milestone and the success of “Anatomy of a Fall” and “The Zone of Interest,” this was further demonstrated in 2024. However, it’s important to remember all the great American films that have originated from Cannes and achieved success upon their release. For instance, Delbert Mann’s “Marty,” the first Palme d’Or winner in history, awarded in 1955 by Marcel Pagnol, later went on to win the Oscar for Best Picture. The Cannes Film Festival is similar to major publishing houses in literature; its selections provide an artistic, media, and symbolic stamp of approval for the films it chooses. In addition, we were pleased to see that movies premiered at Cannes in 2024, despite being mostly arthouse films, achieved impressive box office results. Quality and success are no longer mutually exclusive.

Do you set a limit on the number of Americans you include in the competition?

Absolutely not, whether it’s American films or those from other nations. What truly matters is making the finest selections possible. If there happened to be 12 American films deserving of recognition, we would undoubtedly choose all 12! However, selecting 12 might be a bit excessive.

Last year there was a record number of English-language films (but by international directors). Are you still observing this trend? Does this linguistic standardization worry you?

For nearly three decades, I’ve witnessed the increasing trend of English being used like a modern Esperanto. While it’s true that the market often pushes for English to broaden the reach of films, I can see why people might feel misled when its use is forced, as sometimes happens due to strategic commercial tactics. John Ford once wisely stated, “to be universal, be local.” The recent film “Parasite” beautifully illustrates this sentiment.

Do you see more projects dealing with geopolitics, or with a political background, given the charged context and the wars in Ukraine and Gaza, and the situation in the U.S. with the Trump administration?

As we speak, not especially.

Some directors are very prolific, notably Kirill Serebrennikov. Would you refrain from presenting his latest film (an adaptation of Olivier Guez’s “The Disappearance of Josef Mengele) because he was already in competition last year with “Limonov”?

No, there is no rule against it.

It seems that there could be a record number of female directors in competition. Is that the case?

I truly hope that’s the case. Over the past two decades, we’ve seen a substantial rise in female directors, a trend we can’t help but emphasize. Emerging filmmakers are creating more gender-balanced productions, as evidenced by our selection of short films or those from the Cinef (formerly known as the Cinefondation). Even during years like 2024, when the overall number of female directors declined, the Cannes Film Festival continued to promote their work in quantity. In terms of quality, we won’t forget the films of Coralie Fargeat, Payal Kapadia, Laetitia Dosch, Agathe Riedinger, and Louise Courvoisier from that year.

Do you think that the success of “Emilia Perez” could encourage Netflix to return to the Cannes Film Festival? What are your discussions with them this year and with the other platforms?

Our interactions with these platforms, including Apple, Amazon, and more recently, have been exceptional, and any minor chance arises as an opportunity for us to connect further. It’s also worth noting that once Netflix begins showcasing films at our festival, they will likely rejoin us. Consistently, I express that our communication has never ceased, and Ted Sarandos is well aware that we are eagerly anticipating his return with films. Let’s not overlook the fact that Netflix has recently contributed to French cinema by participating in co-productions. Undeniably, the 2025 edition of Cannes will carry its impact.

Last year, Karla Sofia Gascon became the first transgender actress to win an award at Cannes, but her offensive tweets were later discovered. What was your view on the debacle?

I won’t pass judgement on the apparent muddle social media seems to create, a situation that Karla Sofia Gascon has brought up. While I don’t agree with her statements, given that some of them could potentially violate French law, she is primarily an artist and artists are expected to express their creativity. Should an artist be a paragon of virtue? I personally believe not. The controversy surrounding Karla Sofia Gascon and the film has had its costs, but let’s shift focus because it in no way detracts from the worthiness of “Emilia Perez,” nor the nominations and accolades rightfully earned by Jacques Audiard and his team.

Do you check the social media accounts of the directors before inviting them to Cannes?

The Cannes Film Festival relies on a solid ethical framework for making artistic decisions, considering all pertinent information beyond just social media. The dedication to the founding principles of respect and humanism that have defined the festival from the start continues to be unwavering, as it was in its early days.

The Césars have made directors accused of sexual assault ineligible. Is this something you would consider doing at Cannes?

Festivals such as the César Awards and events like the Cannes Film Festival serve different purposes: festivals focus on discovery, while awards bestow recognition. As we are in the early stages of the creative process, it’s crucial to stay vigilant. We pay close attention not only to the growing trend of open dialogue but also to how even minor unacceptable behavior can lead to complete rejection. To ensure a safe and respectful environment for all contributors, we have amended our regulations starting from 2025. Films in our official selection will be required to uphold the safety, integrity, and dignity of everyone involved, and comply with legal obligations. We will also pay extra attention to the selected films.

As a connoisseur of cinema, I’ve learned to question the status quo, much like Henry Fonda and Sidney Lumet molded my perspective. The justice system, not film festivals, determines guilt or innocence, and it can be intricate and complex. Cinema serves as a platform for us to challenge these complexities and uphold universal values.

Last year, “All We Imagine as Light” marked the return of Indian cinema in competition after 30 years. Do you anticipate other gems from underrepresented regions in competition?

We are ready!

Is it possible that Iran might participate in the competition as well? I’m curious, how does the festival ensure the safety and protection of directors with opposing views during events?

During the Festival, there’s a robust safety measure put in place across the city of Cannes, which is jointly managed by the Festival organization, the Cannes City Council, and local state services, ensuring everyone’s wellbeing throughout the event.

Over the past few months, you’ve been deeply involved with your movie ‘Lumière L’Aventure Continue.’ Has this experience influenced how you perceive the films you’ve been watching for the Official Selection?

In the summer of 2024, I penned and orchestrated “Lumière, l’aventure continue,” and unveiled it in the autumn first in San Sebastian, followed by Rome, Tokyo, and Jeddah (at Red Sea). The project wasn’t aligned with the Cannes selection, as that typically begins in November-December. However, your query is significant because the dynamic between traditional and modern cinema shapes my viewing experience significantly, and I might even argue it’s a cornerstone of my work. Not only due to my role overseeing the Cannes Film Festival, Lumière Institut, and Festival, but also because our perspective on contemporary productions is influenced by lessons gleaned from past cinematic endeavors.

A timeless movie carries its unique narrative. For instance, if a contemporary audience were to watch “Citizen Kane” on a cinema screen today, they would undoubtedly be captivated, touched, and left pondering, but might struggle to grasp its acclaimed status due to the film’s intricate and advanced elements. To truly appreciate it, one should delve into aspects such as the script, cinematography, historical context, and so on. In essence, a movie is like an intricate symphony, with various layers that require analysis. When it comes to classic cinema, straightforward likes or dislikes, or judgments of good or bad, may not suffice. Instead, one must develop the skill to assess the works that time has elevated into masterpieces from directors such as Welles, Kurosawa, or Kubrick.

In regards to modern films, including those selected for Cannes, it’s important to remember that we’re not simply giving a thumbs up or down as a sign of approval or disapproval. Instead, we should be assessing each piece on its own merit and comparing it to the others in order to form a well-rounded opinion.

We need to decide whether to screen this movie at Cannes Film Festival or not, and explain our reasons for that decision. Additionally, we should consider what message this film conveys about cinema today. These are the questions we must answer.

You draw a parallel between the cinema of Lumière and the New Wave in your documentary…

Absolutely! We both appreciate the same authenticity, the same essence, the same straightforwardness. Just like Lumière, who developed his unique language without any constraints, the New Wave aimed to break free from established cinematic rules that had been in place for half a century. As Godard famously said in his film, “To reinvent grammar, you must seek out the uneducated.” This still rings true today.

Who do you think are the heirs of the Lumière brothers today?

The Lumières had a knack for creating lists, but their legacy in film goes far beyond that. They aimed to capture reality through their cameras and transform it into something beautiful, reminding us that the art of cinema lies not just in the images we see, but in the angles from which they’re captured. The Lumières saw cinema as a tool for peace. Their films may not tell traditional stories, instead serving as pure expressions of cinematic form. Essentially, they wrote with a camera. Lastly, the Lumières started the whole cinema movement when Thomas Edison was focusing on individual use of his Kinetoscope. Today, 130 years later, we can still appreciate their invention and enjoy going to the movies, which is a wonderful thing indeed.

Even at a time when streaming platforms are so popular?

From my perspective as a film enthusiast, streaming platforms are undeniably innovative. I’m subscribed to them all and can access them on my mobile device at any time. Yet, nothing beats the immersive experience of watching a movie in a grand cinema hall. It’s crucial for us to impart this feeling to our future generations. We shouldn’t deny them the raw emotions that we’ve felt in theaters firsthand. In his book “Cinema Speculations,” Quentin Tarantino beautifully recounts his initial cinematic experiences, an enlightening journey indeed.

By 2024, movie theaters worldwide saw a strong resurgence as audiences flocked back, and film enthusiast platforms such as Mubi gained significant popularity. Did Quentin Tarantino’s statement that “cinema isn’t dead” hold true?

Absolutely, the movie theater experience isn’t extinct! However, it took a significant hit during the lockdown period – an unprecedented event in cinema history where all cinemas were temporarily closed, even during the two world wars. Despite this, streaming platforms saw a surge in popularity at home. Many speculated that theaters would soon become obsolete. While this has happened in the past during the 20th century, it won’t be the case this time around. Cinemas will continue to survive and thrive thanks to films, artists, professionals, theaters, and audiences. However, we can’t afford to rest on our laurels. To bring people back to theaters, we need to reignite their passion, stimulate their curiosity. We need quality movies to do just that.

Over the past decade, as more films have become available to watch, has it struck you that the emergence of different streaming platforms has significantly influenced the structure and narrative style of movies?

Just as the Lumière Cinématographe was sustained by films in 1900, modern platforms need to be fed with series today. The medium may have evolved, but the essence of storytelling remains the same – it’s the language of cinema. However, the public’s preferences are indeed changing. On a worldwide scale, audiences are craving for innovative series or unique content that offers fresh narratives, compelling scripts, engaging dialogue, captivating stories, and a touch of imagination.

Cinema has always had to contend with significant challenges, but it is clear that platforms, due to their qualities, pose tough competition. Yet, cinema has its own ways to respond.

Given that you frequently emphasize the significance of the media at the Cannes Film Festival, I’m curious about your thoughts regarding the concerns expressed by numerous journalists who feel they can no longer conduct interviews with talent during significant events like Cannes. How do you perceive this issue?

The Cannes Film Festival wouldn’t be what it is today without the media. They are integral to its legend, encompassing print media, photography, television, and now digital platforms. Every year, around 4,000 professionals flock to the Croisette for work, and we strive to provide them with optimal conditions and facilities to perform their duties effectively. We also assist press officers in their roles.

Regarding interactions with talent, our policies are clear: most films, whether in or out of competition, hold press conferences, which are widely attended and broadcast live on our television channel. We facilitate these opportunities for journalists. However, the direct and personal access that media has to talent is part of a larger strategy managed by productions, not the Festival itself.

We acknowledge those who seek more in-depth interactions with artists, as these often lead to remarkable outcomes and foster a deeper appreciation for cinema. Yet, we are also aware that the high demand for individual interviews makes it practically impossible to fulfill every request.

I find that the opening ceremony at Cannes is by far the most impressive and unique among all festival openings I have attended. What makes it so special? Do you play a role in the creative and editorial decisions behind the event?

Working closely alongside France Télévisions and Brut, we ensure the festival gains maximum exposure while maintaining high broadcast standards. The secret lies in a dynamic blend that changes annually. Collaboration is key, particularly with Renaud le Van Kim, who masterfully oversees the ceremonies.

The opening film has still not been announced…

Since we haven’t reached a conclusion yet, we’re mulling it over. Rest assured, you’ll learn about it simultaneously with me shortly!

2025-04-04 18:49