On December 8, 1980, John Lennon and Yoko Ono sat down to talk to a small crew from San Francisco’s KFRC radio station in their Dakota Building apartment in New York. It was the only radio interview they gave to promote their album Double Fantasy, released three weeks earlier. For two hours and 45 minutes they spoke calmly, optimistically and, in Lennon’s case, in an almost messianic voice, about life. That night, returning home, Lennon would be shot dead by Mark David Chapman. Given the circumstances, the interview could be viewed as prophetic, which is Steven Soderbergh’s angle in his documentary John Lennon: The Last Interview, presented at Cannes in a special session.

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Andy Garcia’s passion project Diamond sparked a nine-minute ovation in Cannes on Tuesday evening as the star set down at the festival in the company of co-stars Vicky Krieps and Rosemarie DeWitt. Billed as a love letter to L.A. and a homage to the film noir of the past, the quirky whodunnit is written and […]

EXCLUSIVE: Florence Pugh fantasy drama The Midnight Library, which will be directed by Lion filmmaker Garth Davis, is being chased by multiple studios in what will likely be the biggest deal out of this year’s Cannes market. We understand Paramount, Focus and Sony are in the mix for domestic and select international markets on the circa $70M movie, […]

Nobody has fun with fashion quite like Demi Moore. The actor loves making a statement, and she’s to continue that streak this year as a member of the jury for the Cannes Film Festival. To kick off the first day, Moore delivered a burst of whimsical polka dots, courtesy of Simon Porte Jacquemus.

While arriving to a jury members’ photo-call at the Palais des Festivals, Moore stepped out in a strapless white dress from Jacquemus’s fall 2026 collection. Her style featured exaggerated hips as well as a mermaid-style tiered hem. However, the piece’s boldest accent came from a smattering of black, red, blue, and yellow polka dots—many attached to thin wisps of feathers, creating a floating effect.

To match her dramatic dress, Moore carried a polka-dotted version of the brand’s Valérie handbag. Stylist Brad Goreski kept focus on the star’s look with clean white pumps and coordinating cat-eyed sunglasses, framing her statement piece with stark neutral elements. Sparkling blue sapphire and diamond earrings glamorously completed Moore’s ensemble with a touch of sparkle.

Moore’s polka-dot dress proved her longtime statement dressing streak is only growing. Whether she’s wearing feathered Balenciaga couture, Western-inspired Brandon Maxwell suiting, or a leather Gucci catsuit, Moore has proven adept at wearing a range of dynamic looks in recent years. Her Jacquemus number is no exception, bringing a playful take to the classic, crisp white attire that’s signature of the south of France.

Of course, this is only the beginning of Moore’s upcoming Cannes wardrobe. On his Instagram Stories, Goreski teased her white dress as “Look 1,” nodding to a range of outfits on the horizon. As part of this year’s jury, Moore will spend 12 days viewing the festival’s various films—and ultimately deciding its 2026 winners—alongside fellow jury members Ruth Negga, Chloé Zhao, Park Chan-wook, Laura Wandel, Diego Céspedes, Stellan Skarsgård, Isaach De Bankolé, and Paul Laverty. With a swathe of premieres, parties, and additional events coming up, we can expect plenty of eye-catching looks in store from the fashion-forward star.

Ira Sachs’ drama The Man I Love starring Rami Malek had its world premiere Wednesday at the Cannes Film Festival, where it received a heartfelt 10-minute ovation following its screening at the Grand Théâtre Lumière. The film is the second American movie to screen in the festival’s competition section, following James Gray’s Paper Tiger over […]

Nothing says “I love you” like a bullet to the heart in Javier Calvo and Javier Ambrossi’s La Bola Negra (The Black Ball), an unashamedly romantic decades-spanning drama that emerged in the last days of a very austere Cannes Film Festival as a possible dark horse Palme d’Or winner. It’s long even by Cannes standards, […]

Fresh from their rapturous debut last night in the Grand Théâtre Lumière, La Bola Negra filmmakers Javier Calvo and Javier Ambrossi were joined by their cast, including Penélope Cruz, this morning for their official Cannes press conference.  The film, which landed a length 20-minute ovation last night, follows three men in three different periods — […]

Nobody can deliver a thoughtful, artistic fashion statement on the red carpet quite like Cate Blanchett. For her latest outing at this year’s Cannes Film Festival, the fashion-forward star continued that approach in blooming style thanks to Sarah Burton’s Givenchy.

At the festival’s Sunday premiere for Garance, Blanchett swished into the Palais des Festivals in an intricate gown from the French brand’s fall 2026 collection. Her backless style included a lightly wrapped neckline with a formal floor-length hem, all crafted from black silk. Embroidered red, pink, yellow, and blue flowers with swirling, shadowed green stems spread across the front of the piece, complete with subtle sheer paneling for added depth.

The dress’s intricate flowers were far from your average garden-variety blooms. Burton’s collection took direct inspiration from the Old Masters of European oil painting, with this particular gown echoing the overflowing still life portraits of Dutch artists like Jan Davidsz de Heem and Jan van Huysum. The same ornate florals covered a pair of sleek black leather gloves cinched at each end with a black silk bow, which smoothly matched Blanchett’s gown. However, her look’s most dramatic statement came from the thick layers of swishing color-coordinated fringe, making the flowers appear to be melting onto the red carpet.

That very same detail made the dress go instantly viral earlier this spring, when Mona Tougaard closed Givenchy’s runway in the design at Paris Fashion Week. The style’s intricate details, rich color palette, and experimental use of textures are all hallmarks of Burton’s, cementing her place as one of the most innovative designers to watch today. Blanchett, true to form, proved the perfect star to debut the dress on the red carpet—after all, it was an original work of art.

However, this wasn’t Blanchett’s only fashionable moment at Cannes. On Saturday, the actor stepped out for the screening of Paper Tiger in a black velvet Louis Vuitton gown. Her custom ensemble, elegantly paired with diamond earrings and pointed black pumps, prominently featured a squared neckline framed with large lacy ruffles. In addition to being a signature of creative director Nicolas Ghesquière, the detail also smartly referenced the costumes worn in the actor’s Oscar-winning portrayal of Queen Elizabeth 1 in 1998’s Elizabeth. Even Blanchett, it seems, isn’t afraid of a self-reference on the red carpet.

Blanchett’s arrival at the Cannes Film Festival makes her the latest stylish star to touch down for the cinematic occasion. This year’s event has been a particularly fashionable affair so far through eye-catching outings by jury members Demi Moore and Ruth Negga, as well as guests including Isabelle Huppert, Sandra Hüller, Simone Ashley, and more. With an impressive streak that’s ranged from reworn award show gowns to frothy feathers, zippered leather, and more artistic fringe, Blanchett has delivered plenty of fashion surprises. But there’s no telling what she still has in store for Cannes—one thing is sure, her choices will make a statement.

“I wouldn’t survive a day in that environment.” That’s indie distributor Neon’s co-founder and CEO Tom Quinn’s take on working within a major studio, let alone two combined. In his first public appearance since taking home Neon’s seventh Cannes Palme d’Or last week, this time for Fjord, Quinn was asked at the Produced By Conference […]

What’s historically been great about the Cannes jury press conference at the end of the festival is that it provides a window into what this conclave was thinking and the choices made for award selections. However, few reporters got the chance to ask hard hitting questions, and the jury was steered by the conference moderator […]

That Garth Davis directed, Florence Pugh starring feature take of Matt Haig’s The Midnight Library which Andreas first told you about; well, it’s been won by the David Ellison run Paramount Pictures for $36M. Paramount beat out Focus and Sony who were circling to acquire North America and select foreign markets on the project. StudioCanal […]

EXCLUSIVE: This was always going to be one of the hottest packages at the Cannes market, and now Warner Bros’ new label Clockwork has beaten out rivals to take The Brigands of Rattlecreek off the table in a North American deal pegged in the mid-teen millions. The studio is in exclusive negotiations for the movie and […]