Cannes 2024

The first few days in Cannes saw a promising start to the festival with impressive female protagonists, according to Peter Paul Huth in his opening report on Cannes 2024.

Peter Paul Huth looks at the films of George Miller, Francis Ford Coppola and Ali Abbasi in his coverage of the Cannes Film Festival 2024.

In his reporting from Cannes, Peter Paul Huth writes about Sean Baker's "Anora" and Kirill Serebrennikov's "Limonov: The Ballad".

Perhaps the cinema is the ideal place to present questions of fluid identity. In current debates, linguistic sensitivity for particular identities is demanded under the label 'gender-appropriate language'. On the other hand, in 'liquid modernity' (Zygmunt Bauman), gender-specific boundaries are being abolished.

Cannes loves the big names of international auteur cinema and is happy to invite them to the competition - this year Paul Schrader and Jia Zhang-ke, among others. Continuation of the festival coverage by Peter Paul Huth.

As the Cannes Festival draws to a close, speculation is rife as to who might win the Palme d'Or this year. The New York Times sees two films at the forefront that are universally regarded as favourites. A preliminary summary.

A political highlight was saved for the finale in Cannes, the film "The Seed of the Sacred Fig" by Mohammad Rasoulof. Under the conditions of Iranian censorship, Rasoulof's film seems like a suicidal project.

2024 was the year of women in Cannes, and this was clearly reflected in the awards. Although the Palme d'Or went to a man, to the American Sean Baker, his film "Anora" however has a combative female protagonist in Mikey Madsen. In his acceptance speech, Baker dedicated the award to all female sex workers.