Festivals - Cannes 2025: A Red Carpet Draped in Memory, Modernity, and Meaning

By Mulder, Cannes, Palais des Festivals et des Congrès de Cannes, 13 may 2025

The 78th edition of the Cannes Film Festival burst into life with a flourish that reminded the world why this coastal celebration of cinema continues to reign supreme. Kicking off on May 13, 2025, the festival opened with the premiere of Partir Un Jour (Leave One Day), the debut feature by Amélie Bonnin. This poignant drama about personal sacrifice and rediscovery set the perfect tone for a festival that oscillates between glamor and gravity. With singer Juliette Armanet, actor Bastien Bouillon, and the ever-charismatic François Rollin leading the film, Bonnin introduced herself to the world with the confidence of a seasoned director. The red carpet wasn’t just filled with the film’s cast—no, it was a constellation of stars. Quentin Tarantino, Rossy De Palma, Julia Garner, Nava Mau, Zahra Amir Ebrahimi, and even Leonardo DiCaprio, who was on hand to present an honorary Palme d’Or to Robert De Niro, turned the premiere into a rare gathering of cinematic royalty.

Leave One Day explores the story of Cécile, a young chef with big dreams in Paris whose life is upended by a family emergency, forcing her return to the countryside of her youth. There, she reconnects not only with the flavors of her past but with a love she had once written off. In a world increasingly obsessed with fast-paced ambition and constant reinvention, Bonnin’s film gently suggests that sometimes the future lies hidden in the very places we fled. Festival-goers were visibly moved, and while applause at Cannes can be performative, this one felt genuine—sustained not out of obligation but deep appreciation for a director who managed to touch hearts with subtlety and grace.

The sense of cinematic ceremony had already begun long before the lights dimmed for the opening screening. The poster unveiling on Monday was a classic nod to tradition, soon followed by a highly exclusive dinner at the Hotel Martinez, where jury president Juliette Binoche welcomed her fellow jurors. The jury lineup is as refreshingly eclectic as ever: Halle Berry, Payal Kapadia, Alba Rohrwacher, Leïla Slimani, Dieudo Hamadi, Hong Sangsoo, Carlos Reygadas, and Jeremy Strong. Their presence isn’t just symbolic—it represents a cross-section of global storytelling voices, from intimate docu-realism to blockbuster gravitas, that will surely spark fascinating debate behind the closed doors of the deliberation room as they decide the fate of the 21 films in competition.

Of course, Cannes wouldn’t be Cannes without its breathtaking red carpet—and this year, it delivered more than just fashion. Aubrey Plaza’s presence at the premiere of Ethan Coen and Tricia Cooke’s Honey Don’t carried emotional weight. Her appearance marked her first since the tragic loss of her husband, director Jeff Baena. Dressed in a delicate, sheer beaded gown that mirrored both fragility and quiet strength, Plaza reminded everyone that grief and grace can coexist. The film itself—a lesbian detective story laced with dark comedy and moral ambiguity—earned a robust six-and-a-half-minute standing ovation. Margaret Qualley, magnetic as the lead, also stole the show sartorially with her baby pink Chanel gown and vintage flats—both stylish and surprisingly subversive, nodding to the festival's embrace of comfort in its updated dress code.

Another fashion statement came courtesy of Bollywood star Alia Bhatt, whose Cannes debut turned heads and cameras with a saree-inspired lehenga that shimmered like a love letter to her cultural heritage. Blending Indian tradition with a silhouette suited for the Riviera, Bhatt made a statement not just about beauty but about belonging—about carving out space for non-Western fashion on the international stage. Meanwhile, Simone Ashley, never one to be boxed into a single image, shifted gears between minimalist Prada and an ethereal Vivienne Westwood gown with the grace of a seasoned Cannes veteran. Her corseted gown, complete with wing-like detailing, was both angelic and powerful—a visual metaphor for the balance of strength and softness this festival celebrates.

Yet for all its elegance, Cannes did not shy away from engaging with the world’s harsh realities. A deeply felt tribute was paid to Palestinian photojournalist Fatima Hassouna, killed in Gaza, whose name joined a chorus of voices demanding justice. Over 350 artists and filmmakers united to condemn the violence, using Cannes not only as a platform for art but as a stage for solidarity. These moments matter—they remind attendees and audiences alike that cinema doesn't float above the world but flows through its currents, reflecting its beauty and its pain.

As the festival barrels ahead with much-anticipated premieres like Mission: Impossible – The Final Reckoning, screening out of competition on May 14, Cannes continues to balance its dual identity as both cultural institution and pop spectacle. Tom Cruise and Christopher McQuarrie are set to scale the Palais steps with characteristic flair, and their presence will no doubt spike the glamour quotient. Equally exciting are premieres from Wes Anderson (The Phoenician Scheme), Ari Aster (Eddington), Richard Linklater (New Wave), and Scarlett Johansson’s debut as a director with Eleanor The Great. With names like Jennifer Lawrence, Robert Pattinson, Spike Lee, Julia Ducournau, and Joachim Trier filling the schedule, the festival promises both surprises and showstoppers.

As the final day approaches with the unveiling of Momoko Sato’s Dandelion’s Odyssey at the closing ceremony, one thing is already clear: Cannes 2025 is a festival in full bloom. From tender indie debuts to unapologetically starry showcases, from moments of mourning to bursts of joy, this year’s edition offers more than just a celebration of film—it’s a layered reflection of the world it tries to capture, one frame at a time.

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Photos : @fannyrlphotography