The 2026 Cannes Film Festival starts Tuesday, May 12th, running through May 24th. The Ebert team returns this year with coverage of all of the major films in review and video form.
In the latest from Chaz Ebert’s series of remote video dispatches from Cannes, she breaks down the opening ceremonies and the opening-night film, “The Electric Kiss.” She also details the joyous screening of Guillermo del Toro’s “Pan’s Labyrinth,” with del Toro in attendance. We also check in with press conferences with Thierry Fremaux and questions about politics for this year’s Cannes jury.
Enjoy the video and a transcript below.
Day one kicked things off with a parade of international stars and fashion on the red carpet.
At the opening ceremony, hosted by French-Malian actress Eye Haidara, along with the formal introduction of this year’s jury, New Zealand director Peter Jackson was presented by Elijah Wood with an honorary Palme d’Or for his work on The Lord of the Rings films, among many others throughout his career.
Following the ceremony, the opening-night film “La Venus Electrique” played for audiences in Cannes and in theaters throughout France.
But generating more excitement among the cinephiles at the festival was a 20th anniversary screening earlier in the day of Guillermo del Toro’s “Pan’s Labyrinth” playing in the Cannes Classics section.
Del Toro was warmly introduced at the screening by his friend, Cannes director Thierry Frémaux, and gave a heartfelt and funny introduction of the film.
Guillermo del Toro: “Because one thing happens to me as a filmmaker, everybody who liked ‘Hellboy’ when they were 20, now they come to me, and they’re 40.
Everybody who liked “Pan’s Labyrinth” every year is in their 20s. For some reason, it connects with the strength of being young, when the world tells you you’re wrong, and you know you’re right. So I wanted to put it out in the world in a big way so that I can keep connecting with the souls that remain young. So I’m going to sit my gigantic but over there and we’re going to watch it together.”
Chaz: After the film played, del Toro, clearly touched by the response of the audience, spoke again to the assembled crowd.
GdT: “You know, this movie, I think, is for me like a little parable on a little lullaby, a little song. For the times one is down, cinema has saved my life a few times. And, I hope the movie connects with you in that way. I know it has through the decades.
And, this is what film does for us. And this is what art does for us. And fuck A.I.”
Chaz: Political statements and moviemaking are top of mind these days. At his own introductory press conference, Thierry Frémaux was asked about how the Cannes film festival prepares itself to deal with the political issues of the day.
Thierry Frémaux: “Politics is on the screen. That’s what we see in Cannes. So I owe my reputation to my function. I’m not going to put my function in the service of my political opinions, my personal opinions. I could talk about Bruce Springsteen, Olympique Lyonnais, but these are personal views. The Cannes Festival considers that political matters should be addressed through what the filmmakers say and do.
In other words, one has to look at the gesture of artists, view it as an artistic gesture, a question of cinema, and not lend it more meaning than that. One should not lend it more meaning than what will happen in the course of the two weeks here at the Cannes Festival. And then we’ll see.”
Chaz: Politics have always been a hot topic in Cannes. And that’s the subject of today’s Cannes Flashback, recalling the time I asked George Clooney about the upcoming Presidential election in 2016.
Chaz 2016: “Chaz Ebert from RogerEbert.com and the Chicago Sun-Times. Although this film is about past financial misdoings. Can you see this as a harbinger, a cautionary tale, or a harbinger of things to come under a potential President Donald Trump?
George Clooney 2016: “Well, let’s sort of start much simpler. There’s not going to be a President Donald Trump. That’s not going to happen. It’s not going to happen because we’re not going to be scared. Fear is not something we’re going to be; that’s what’s going to drive our country. We’re not going to be scared of Muslims or immigrants or, you know, women.
We’re not actually afraid of anything. So, you know, we’re not going to use fear. So that’s not going to be an issue. If you’re asking if it’s a harbinger, I think that, you know, and I think you would agree, and I think we all sort of see it. I think that’s sort of landed in a way.
Trump is actually a result of many things, including the fact that many news programs didn’t follow up and ask tough questions. That’s the truth. It was, you know, it’s really easy because your numbers go up. All these cable news numbers, this 24-hour news, doesn’t mean you get more news. It just means you get the same news – more.
So the more and more and more you hear. You know, these guys, your ratings go up because they can show an empty podium saying Donald Trump is about to speak, you know, as opposed to taking those 30 seconds and saying, well, let’s talk about refugees, which is the biggest crisis that’s going on in the world right now.
Chaz: And the questions about politics were at the forefront of this year’s jury press conference also….
Park Chan-wook:
I don’t think politics and the arts should be divided. I think it’s a strange concept to think that they’re in conflict with each other.
Paul Laverty:
And isn’t that fascinating to see somebody like Susan Sarandon, Javier Bardem, and Mark Ruffalo blacklisted because of their views and opposing the murder of women and children in Gaza. Shame on Hollywood people who do that. And so, my respect and total solidarity with them.
Demi Moore:
I think part of art is about expression. So if we start censoring ourselves, I think we shut down the very core of our creativity, which is where we can discover truths and answers.
Chaz: On an inspiring note, Jury President Park Chan-wook and Oscar-nominated actress Ruth Negga talked about what it meant to them to get the call to join the jury in Cannes.
Park Chan-wook: I told my wife about the news. I first said maybe I shouldn’t go because, having been a juror here before, I know how stressful the job of being a president is. So I had to spend five minutes really thinking about whether I was ready for this task. But reflecting on my memories of Cannes, where I have screened my films and have been fortunate to win awards, I realized it was time for me to give back and serve the film festival.
Ruth Negga: “My heart skipped a beat, to be honest, and it actually felt like poetry because I was first at Cannes ten years ago. We brought Jeff Nichols “Loving” here, and the warmth, the generosity, the support, the joy that we all felt. I mean, it was unforgettable. I mean, it’s embedded in my memory. And so it’s so special to be invited back here to be on the jury.”
Chaz: That’s all for now, but join us each day for our regular reports, reviews, and reactions at RogerEbert.com/festivals. We’ll keep you on top of everything going on each day at the Cannes Film Festival.
Until next time, au revoir!
