The Allure of Cannes: Beyond the Silver Screen
The champagne never stops flowing at Villa Aloha's PJ Party, where hosts hope veteran film-makers will mingle with newcomers. Photographer Sonia Reveyaz explains the lure of the hustle, bustle, glitz and glamour on the sidelines of the Cannes film festival.
It is flashy, jazzy, tacky, and utterly jet set. From dawn to dusk on the Croisette, the boulevard stretching along the Mediterranean Sea in Cannes, everyone is dressed to the nines. For ten days, it is all about securing an invitation to join the exclusive club of the Cannes film festival. But not everyone stops to watch a movie.
Luxury and the Media Machine
In this image-driven economy, luxury is embodied right down to the skin. The media plays a central role in creating desire. Magazine publishers and social media platforms collaborate with brands to promote new products and showcase celebrities who wear them. Now, a new type of celebrity, one with an unconventional career path starting from nothing, is invited to the Croisette: influencers.
From the Carlton to the Grand Theatre Lumiere, the most dazzling outfits are proudly on display. Whether it is Chanel jewellery or a Louis Vuitton leather bag, genuine or fake, logos here are synonymous with glamour and power.
Dress Code and Spectacle
Trainers are not permitted at gala performances at the Grand Theatre Lumiere. The festival requires evening wear: a long dress or little black dress for women, and a black or navy blue tuxedo with a bow tie or dark tie for men. Without this attire, entry may be refused. Last year, the photographer found herself in this situation after failing to change following a day of wandering. The streets become a stage: princess dresses, excessive Botox, dazzling jewellery, gleaming Lamborghinis. A fashion show, minus the red carpet, unfolds between the Marriott and the Grand Theatre Lumiere. The festival has become a symbol of the society of the spectacle.
The Crowds and the Dreamers
The crowd jostles at the exit of a screening. Yingying A-tupho from Thailand describes herself as a model, actress, singer, and teacher of classical Thai dance, but she could not be photographed on the red carpet because there are two separate entrances: one for film crews and official guests, and another for the public.
Edward Hollander, whose fortune is estimated at over 310 million pounds, and his partner Amanda Balk, 38, a reality TV contestant, were invited by luxury jeweller Messika. A couple strolls along the Croisette. French YouTuber Mehdi Jibril brings a Tom Cruise lookalike, a German man spotted online weeks earlier, who arrives on a motorbike wearing aviator sunglasses.
The photographer originally attended film festivals to watch films but was immediately captivated by the hustle and bustle on the sidelines, the world of glitz and glamour and its eccentric characters. For the past two years, she has been photographing the jet set and the crowd of unknowns who surround them, dreaming of a place among the stars. Photography has given her a way to connect with these worlds.
The Yachts and Villas
The Albert Edouard jetty is located next to the entrance to the Palais des Festivals et des Congres, which hosts festival events. While the festival has committed to reducing carbon dioxide emissions by 21% by 2030, the largest private yachts begin to dock as early as May. The owner of Villa Oxygene in Super-Cannes has placed a statue of Tony Montana, the villain from Scarface, on his terrace. Tragedy struck last year when a palm tree fell, seriously injuring a Japanese producer.
The Cannes film festival does not just attract film enthusiasts. Every year, the jet set descends on the city. Superyachts take over the Mediterranean, and luxurious villas twinkle along the Bay of Cannes. The finest suites in the hills of the Californie district are booked months in advance for prestigious parties away from the city's hustle and bustle. Whether it is rooftop after-parties or cocktails on private beaches, the key is not to leave without having been invited.
Opportunities and Parody
Gatsby Randolph is a regular at high society events. On board a chartered yacht, he organised a champagne afternoon to celebrate the release of his second film: Who is Gatsby Randolph? Part 2. In Cannes, everything is possible: getting spotted as a model, negotiating a brand contract, signing with an agency. The world's biggest film festival becomes a huge marketplace of opportunities. Randolph came from the US to present his biopic. It is hard to know where parody ends and reality begins.
Anonymity and Symbols
On the red carpet, a bow tie is a must for men. When the photographer crops faces in her work, she anonymises subjects for whom appearance is everything. Through details of bare backs, closeups of Rolex watches, or shots focusing on bright red lips, she reveals the symbols of distinction in this world of luxury. Among those waiting for their 15 minutes of fame, a few refuse to be photographed. But most assume star poses, dazzling smiles, and show off Chanel necklaces, even asking for private photoshoots by the sea.
Dogs and Nostalgia
A pair of bare backs: a festivalgoer and a dog. On the Croisette, even the dogs are decked out. Since 2001, the Palm Dog has been awarded for the best canine performance on the big screen. Felicity, the dog belonging to animal rights activist Julia de Cadenet, struts her stuff. Many older people find the nightlife less lively than it used to be. Luc, a pensioner, is nostalgic for the days he spent in Cannes. Back then, you could bump into Jean-Paul Belmondo on the beach and chat without trouble; now, stars are mobbed by amateur photographers and no longer dare to go out in public. With his shirt wide open, he spends days on the beach promenade showing off his deep tan, accessorised with his watch and gold chain.
The Red Carpet Economy
Everyone shows love for cinema, yet few manage to get a ticket to the famous Grand Theatre Lumiere. The photographer has seen young women leave the theatre right after their red-carpet appearance because their dresses were too bulky to watch the film. A red-carpet walk is a goldmine and is at the core of brand strategies. Whether jewellery, beauty products, or luxury clothing, major corporations work with models and celebrities to feature their products on the red carpet. Partnerships have multiplied. From the Nespresso-sponsored beach to Louis Vuitton handbags, the film festival is becoming a brand festival.
Mitchell Akat, a South Sudanese model, wears an outfit designed by Harvey Cenit, who invited her to Cannes. On loan from brands, fashion collections are showcased and photographed throughout the festival. Ana Peleteiro-Compaore Brion, the Spanish triple jumper, is escorted to the Majestic for a photoshoot. In May, the glamorous world of the jet set mingles with the rest: Mr and Miss Nobody, dreaming teenagers, scroungers, onlookers, and made-up paparazzi. This mix of the ostentatious and the grotesque is both surprising and fascinating. Who is invited? Who is a gatecrasher? Who will win the Palme d'Or? This cocktail of excess brings us back to a harsh reality: fake it until you make it.
