International Film Journalists Protest “Worrying” Lack of Access to Stars Ahead of Cannes Festival

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As the 78th Cannes Film Festival approaches on Tuesday, over 100 international movie critics have penned an open letter to the festival’s organizers, studios, and talent agents, expressing their desire for better access to interviews with stars – a matter that has been causing mounting annoyance at significant film events globally.

As a dedicated gamer, I’m voicing my concern about the state of film journalism at major festivals like Cannes. Just like last year at the Venice Film Festival, I’m joining others in urging Thierry Frémaux and festival directors alike to publicly endorse quality journalism. We believe that equal access to talent during these events is crucial, as it’s not just about getting a quick promotional soundbite – it’s about delivering substantial, meaningful coverage that truly explores the world of cinema.

For many freelancers like myself, this access isn’t just an opportunity; it’s a matter of survival. We rely on exclusive interviews to fund our trips and lodgings at festivals like Cannes. Without these opportunities, we risk being left out in the cold, unable to bring you the in-depth analysis and insights that make festival coverage so valuable.

Marco Consoli, an Italian freelance film journalist and one of the sources behind this comment, mentioned that Berlin saw some improvement but still had restricted space for films. He implied that interviews were conducted, yet the area remained cramped. It seems Cannes may follow a similar pattern based on early responses from a few film publicists. We’re hoping for a different scenario instead.

2021’s Cannes Film Festival boasts a lineup of high-profile celebrities, with big names like Tom Cruise, Scarlett Johansson, Benicio Del Toro, Tom Hanks, Benedict Cumberbatch, Joaquin Phoenix, Emma Stone, and Pedro Pascal gracing the event for various films. These include Mission: Impossible – The Final Reckoning, Wes Anderson’s The Phoenician Scheme, Eddington by Ari Aster, and The History of Sound by Oliver Hermanus. However, it remains undetermined how much time these stars will dedicate to press duties during their stay, with only the necessary competition film press conferences confirmed. Notably, Mission: Impossible 8, which premieres outside of competition, carries no press obligations for Tom Cruise and director Christopher McQuarrie other than posing for the paparazzi.

The recurring issue of restricted access to talent, frequently attributed to scarcity or strict media schedules, is a common topic discussed in film festivals. At San Sebastian the previous year, a group of reporters staged a walkout during a press conference due to two overcrowded tables being condensed into one. This practice, as Consoli points out, transforms what should be an interview into more of a chance-based event, resembling a lottery rather than a routine task.

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The persistent challenge of gaining access to talent, often attributed to limited availability or tightly controlled press schedules, is a familiar problem in the film festival scene. Last year at San Sebastian, journalists walked out during a press conference because two overcrowded tables were combined into one shortened session. As Consoli notes, this practice turns interviews into something that feels more like a lottery than a standard part of the job.

A lot of reporters haven’t re-registered for accreditation at Cannes this year since they can’t secure interview opportunities,” he noted. “Some have even suggested that they won’t be present at other significant events. If this pattern persists, journalists may gradually vanish, leading to a decline in the significance of festivals and films within public discussions, as well as the talent associated with them.

At a press conference prior to Cannes, the festival’s director Thierry Fremaux emphasized the significance of film critics. He expressed his belief that the success of the Cannes Film Festival can be attributed to these critics, stating that they are the ones who fan the flames beneath these films.

The journalists issuing this statement express concern about a potential vanishing of high-caliber film journalism, stating that such an event would not only harm the media industry but also diminish the exposure of films and festivals. In this scenario, films and festivals might be relegated to being mere marketing tools and simplified promotional announcements.

The statement is suggesting that journalists are urging not just Iris Knobloch, the president of Cannes, as well as Frémaux, but also the heads of other film festivals such as Venice’s Alberto Barbera, London’s Tricia Tuttle, and San Sebastian’s José Luis Rebordinos, to openly support journalism.

Journalists make it clear that they stand alongside, rather than opposed to, the film industry. As Consoli stated, “We aren’t against the artists; we aim to back them and their movies.” I hope this message is received and understood – that our requests should not be misconstrued as a reason to exclude us from their circle.

Those who are journalists and want to sign the statement may reach out via email at intlfilmfestivalsjournalists@gmail.com.

You can read the journalists’ full statement and the list of signatories below.

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Once more, the glamorous Cannes Film Festival is here, bringing anticipated movies, talented directors, actors, and artists, not forgetting the allure of the red carpet. For global film journalists, it’s a chance to witness these movies and engage with these gifted individuals through interviews. These discussions, commentaries, and critical analysis – together with the news stories that offer a peek into the festival’s excitement – are just as integral to cinema culture as the films themselves.

Over time, the crucial interviews that form the basis of movie reporting are becoming less frequent, briefer, and lighter in substance, sometimes rendering them virtually useless for those aiming to produce substantial articles. As recently as eight months ago, journalists participating in the Venice Film Festival publicly voiced their discontent over limited access to festival talent.

In San Sebastian, a group of journalists decided to depart from a gathering as two long tables were about to be rearranged for a short press conference. It made no sense to stay. This pattern persists, with publicists warning that access will be severely limited for many attendees at Cannes. Instead of meaningful conversations, interviews will likely consist of 10 minutes or less with multiple celebrities together. These brief interactions are beneficial only for reporters seeking quick headlines. There is little opportunity for contemplation. We believe that debates with artists are crucial in today’s world, where AI technology is increasingly used to create sensational and misleading content, and can even be manipulated to generate fake videos or audio clips of statements and interviews. Real-life conversations are the best defense against digital tampering.

As social media influencers’ reports replace in-depth articles and interviews, the role and significance of cultural debates become crucial topics for discussion. If quality film journalism were to vanish entirely, it would not only harm the credibility of the media but also diminish the impact of films and festivals, transforming them into mere marketing tools and shallow promotional announcements. Therefore, it’s essential that serious journalists continue producing high-quality work, often starting with insightful interviews. Failing to do so could cause film journalism to fade away from mainstream media, leaving only fan sites to discuss these important topics.

We are proposing that Thierry Frémaux, Iris Knobloch, Alberto Barbera, Tricia Tuttle, José Luis Rebordinos, and the heads of other major film festivals worldwide endorse the significance of journalism, information exchange, and discourse in their events and the broader film industry. Additionally, we urge movie studios, directors, actors, and the film industry as a whole to engage in a meaningful dialogue with the media that will provide a balanced platform for discussion beyond just quick promotions, one that engages audiences globally. After all, our shared passion is cinema, and we all want it to flourish.

Signed by

Marco Consoli

Carlos Heli de Almeida

Elaine Guerini

Lieven Trio

Anna Tatarska

Kristina Kudelova

Maria Laura Giovagnini

Andrea Morandi

Andrea Giordano

Alessandro De Simone

James Mottram

Mariola Wiktor

José Paiva Capucho

Stephanie Bunbury

Alex Masson

Kees Driessen

Kuba Armata

Thibault van de Werve

Coen van Zwol

Margret Köhler

Begona Donat

Janaina Pereira

Gregorio Belinchón

Janina Perez Arias

Mariam Schaghaghi

Dean Sinovcic

Giorgio Viaro

Davide Abbatescianni

Elli Mastorou

Artur Zaborski

Nathalie Chifflet

Giulia Bianconi

Steven Tuffin

Antje Harries

Patrick Heidmann

Hauvick Habéchian

Ivča Čermáků Přivřelů

Eva Peydró

Arthur Cios Vanderbroucke

Jean-Luc Brunet

Kalle Kinnunen

Vladan Petkovic

Tristan Priimägi

Tiziana Aricò

Hakim Zejjari

Gudula Moritz

Begoña Piña

Malik Berkati

Ida Madsen Hestman

Gini Brenner

Dieter Osswald

Hubert Heyrendt

Emanuele Bigi

E.Nina Rothe

Marina Latysheva

Anton Dolin

Andrea D’Addio

Avner Shavit

Ab Zagt

Amber Wilkinson

Ramona Boban-Vlahović

Marina D. Richter

Ilaria Ravarino

Claudia Catalli

Francisco Ferreira

Jan Lumholdt

Poly Lykourgou

Matic Majcen

Vasco Camara

Max Borg

Gaelle Moury

Fulvia Caprara

John Bleasdale

Christian Monggaard

Tatiana Rosenstein

Matthias Greuling

Marc Van de Klashorst

Angelo Acerbi

Joao Antunes

Mauro Donzelli

Ilaria Solari

Dave Mestdach

Niels Ruell

Deborah Laurent

Rui Tendinha

Ruben Aerts

Lieven Van Gils

Katia Peignois

Stanislas Ide

Jessica Matthys

Isabelle Muyambaya

Giulia Perona

Irene Crespo

Alex Billington

Denis Bucher

Franco Dassisti

Fabrice Leclerc

Cédric Coppola

Enrica Brocardo

Géza Csákvári

Kuriko Sato

Thomas Albetshauser

Renaud Baronian

Anna Wollner

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2025-05-12 17:55