Ubiquitous presence for Léa Seydoux, expected for Gentle Monster by Marie Kreutzer as well as for The Stranger. Marion Cotillard should also make multiple appearances on the Croisette with Karma by Guillaume Canet, presented out of competition, and Roma Elastica by Bertrand Mandico.
On her side, Adèle Exarchopoulos will defend Garance by Jeanne Herry, presented in competition, but also Orange Flavored Wedding by Christophe Honoré in the Cannes Première selection. Gilles Lellouche, Benoît Magimel, Daniel Auteuil, Pierre Niney, and Pio Marmaï should also climb the steps several times during this edition.
Behind the prestige of the red carpet, this concentration of familiar faces once again questions the functioning of French cinema. The Cannes Film Festival, a global showcase for the seventh art, also reflects an industry that continues to rely on a limited circle of ultra-identified actors, who have become essential to the visibility – and sometimes the financing – of French productions. A mechanism identified by our colleagues at Les Echos in one of their articles last February. This famous “A List” of “bankable” and popular actors seems to be confirmed in Cannes once again.
