As the 78th Cannes Film Festival commenced in France, over 380 international film figures, including stars like Ralph Fiennes, Richard Gere, and Susan Sarandon, publicly condemned what they described as the ongoing “genocide” in Gaza. Their open letter, published in Liberation and Variety, mourned the death of Gazan photojournalist Fatima Hassouna, who is the subject of an upcoming documentary by Iranian director Sepideh Farsi. The film, part of Cannes’ ACID selection, has intensified calls for the festival to break its silence and take a political stand against the Israeli bombardment of Gaza.

Although Cannes has dedicated a day to films about the war in Ukraine, with features involving President Volodymyr Zelensky and frontline footage, no official programming highlights the war in Gaza. However, the screening of Farsi’s film and the participation of Gazan filmmakers Arab and Tarzan Nasser signal some representation. Organizers state that Hassouna’s documentary serves to honor her legacy, even as critics urge stronger statements on the broader humanitarian crisis.
Adding to the political undercurrents, U.S. presidential candidate Donald Trump drew global attention by proposing 100% tariffs on foreign films, a stance that rattled the film industry. Despite this, Cannes director Thierry Frémaux praised the strong American presence at the festival with works by Wes Anderson and others. Meanwhile, the festival also contends with domestic controversies, notably a pending sexual harassment verdict against French cinema icon Gérard Depardieu, casting a shadow over the red carpet proceedings.
As the festival blends high art with Hollywood glamor, blockbuster premieres like Tom Cruise’s latest Mission: Impossible and directorial debuts from Scarlett Johansson and Kristen Stewart are expected to dazzle. Yet behind the fashion and fanfare, political discourse—from Gaza to Ukraine, and Hollywood to Paris—continues to shape the narrative of Cannes 2025, challenging the notion that film festivals are apolitical celebrations.
