The Cannes Film Festival has a clear steward in Thierry Frémaux, who first joined the festival team in 2001 and has been a defining voice in global cinema for a quarter century. Under his leadership the festival has become a launchpad for filmmakers worldwide, while also serving as a battleground for debates about how films should reach audiences. Frémaux’s role is often described as that of a festival director, but he prefers the French title which emphasizes curation and stewardship. He speaks plainly about the balance between tradition and innovation, and why the theatrical experience remains central to Cannes’ identity.
Curating careers and championing auteurs
Throughout his tenure, Frémaux has steered Cannes toward bold choices that have introduced new names to the global stage. Directors such as Justine Triet, Yorgos Lanthimos, Joachim Trier, Xavier Dolan, Ruben Östlund and Andrea Arnold have benefitted from early exposure at the festival, which in turn shaped their international trajectories. This curatorial track record underscores Cannes’ power to transform careers: a premiere in Cannes can recalibrate a filmmaker’s reach and a film’s reception. For Frémaux, the festival’s value lies less in trend-chasing than in assembling works that spark conversation, influence distribution patterns and feed awards-season momentum.
Theater culture versus streaming platforms
One of the most persistent topics in Frémaux’s conversations is the place of the theatrical experience in a world where streaming is ubiquitous. He stresses that in France there is a cultural commitment to the cinema hall and to sustaining a longer theatrical window—an approach that shapes programming decisions at Cannes. Frémaux notes industry figures like Tom Rothman who continue to advocate for big-screen premieres and mentions how directors such as Quentin Tarantino align with that sentiment. For him, seeing a film at a festival or in a theater creates a different communal encounter than watching on a personal device, even if audiences now subscribe to every platform on their phones.
How Cannes and Netflix interact
The relationship between Cannes and Netflix remains complex. French distribution rules and Netflix’s stance on screening films outside competition have limited the streamer’s participation in the festival. Frémaux explains that a film in competition must meet theatrical-release requirements, while there are alternative routes into the festival, such as screenings out of competition, which have been used by major studio pictures in the past. He acknowledges Netflix’s contributions to filmmakers and expresses hope that the streaming giant will continue to find ways to belong to the Cannes ecosystem, reminding readers that festival rules aim to balance business models with the festival’s cinematic values.
Festival politics, awards and safety
Cannes’ influence extends to international prizes and to how films are perceived by institutions like the Academy. Frémaux points out that the Academy’s embrace of global cinema in recent years has shifted the awards landscape, citing landmark moments that opened doors for non-American films on the world stage. At the same time, he addresses practical concerns: increased security at major gatherings has become part of organizing a modern festival. Still, Frémaux insists that Cannes exists primarily as a cultural forum—one that aspires to foster dialogue and, in his words, serve as an instrument of peace when films take on political subjects.
Programming principles and representation
When asked about representation, Frémaux is unequivocal: selection is based on merit rather than identity. He relays advice he received from Agnès Varda, stressing that choosing a film solely because its director is a woman would be an insult to the work and the artist. That said, Cannes has seen a gradual increase in female voices across sections such as shorts and Un Certain Regard, reflecting broader shifts in production and storytelling. Frémaux also remarks on the current absence of some large studio titles—no big franchise openers or certain distributors this year—but remains vocal about his wish to welcome major studio premieres and praises filmmakers like Ryan Coogler as unpredictable, gifted directors whose work he admires deeply.
Looking ahead
Across these topics Frémaux’s message is consistent: Cannes is rooted in a belief that the festival should celebrate cinematic quality while adapting to industry changes. Whether negotiating relationships with streamers, protecting cinema’s theatrical heritage or ensuring the festival platform elevates deserving filmmakers, his stewardship seeks to preserve what makes Cannes distinctive. For audiences and industry alike, the festival continues to be a touchstone where programming choices resonate far beyond the red carpet.
