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Inside the 2026 Cannes Film Festival Opening Night Gala

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Cannes opening day was packed, from a rousing screening of Guillermo del Toro’s Oscar-winning classic “Pan’s Labyrinth” with his amigo Alfonso Cuarón on hand, to Pierre Salvadori’s French carnival divertisement “The Electric Kiss,” the opening ceremony film that makes del Toro’s “Nightmare Alley” look like a masterpiece. One reason French movies often open the festival is that the distributor not only helps to pay for the opening night party but also has to release widely in France the same day.

Per tradition, the opening gala introduced the competition jury, who had participated in a livelier-than-usual afternoon press conference, and awarded an honorary Palme d’Or. Azure-eyed Elijah Wood presented the award to his “The Lord of the Rings” auteur, New Zealand’s Sir Peter Jackson, who was delighted to point out that in the two decades since Wood starred in his trilogy, he had finally managed to grow some facial hair. Jackson made sure to thank his writing and producing (and life) partner Fran Walsh and co-writer Philippa Boyens.

“A warm welcome to our guests from all over the planet,” said Cannes president Iris Knobloch at the Palm Beach gala dinner. “Tonight, everything begins: 12 days, 75 films, 54 countries, the start of a shared journey. Over the coming days, we will not hide from the world. We will enter into it more deeply through stories, through faces, and through images that will stay with us long after the lights go back on. Some films will move us gently. Others will head at us straight on. That is cinema. Cinema does not shield us [from] the world. It helps us navigate it.”

Guillermo del Toro and Cannes Festival Director Thierry Fremaux.

At the dinner, Cannes artistic director Thierry Frémaux told me that ever since the 2026 Berlinale, politics has become a festival “theme.” Stellan Skarsgård complimented fellow juror Demi Moore on handling a range of challenging questions well, while Moore told him his answers were the shortest and funniest. Del Toro continued to field throngs of well-wishers, along with fellow Mexican Diego Luna, who directed the Spanish-language “Ashes,” which premieres on Wednesday.

The changing Academy rules on international features remained a subject of debate; one Academy insider said the rules will continue to evolve. Needless to say, if an English-language movie wins a prize at one of the designated festivals (including Cannes), it will not be eligible for the International Feature category. But if a foreign-language movie wins the Palme d’Or, its country of origin can also nominate a different film. Thus, both Palme d’Or winner “Anatomy of a Fall” and “The Taste of Things” would have competed for France.

Several American distributors worked the room, including the Sony Pictures Classics co-presidents Michael Barker and Tom Bernard and executive Dylan Leiner, who will show Pedro Almodóvar’s “Bitter Christmas’ in competition.

Warners’ new Clockwork chief Christian Parkes was on hand, proud to reveal a new 4K restoration of the full-length “The Devils.” Ken Russell’s brutally intense movie received X-ratings, trims, and limited release its first time out in 1971 in the US. and the U.K. There will be more classic titles to come. “Anora” producer Alex Coco is producing Sean Baker’s next, “Ti Amo!,” Clockwork’s first major acquisition, which Parkes described as the kind of indie film Clockwork wants to make.

Neon’s Ryan Werner, producer Alex Coco, Southampton Playhouse exhibitor Eric Kohn, Strand chief Marcus Hu, and Berlin festival director Tricia Tuttle at the Cannes opening night gala.

Coco was also accompanying Jordan Firstman, the rookie writer/director of “Club Kid.” The acquisition title about a drug-addled gay party promoter who discovers he fathered a kid one hazy night, is already building buzz after early pre-festival screenings. Neon acquisitions chief Jeff Deutchman greeted the young director at the entrance to the party. Not that Neon needs any more pick-ups, but when opportunity knocks, they’re ready to open the door.

Sony Pictures Classics’ Michael Barker, Dylan Leiner, and Tom Bernard at Cannes.

Another hot producer with taste is Plan B’s Jeremy Kleiner, who admired Jane Schoenbrun’s script for “Teenage Sex and Death at Camp Miasma,” which is playing in Un Certain Regard, and jumped on board the low-budget follow-up to their breakout “I Saw the TV Glow. ” This one stars Gillian Anderson and Hannah Einbinder.

And while ex-IndieWire editor/critic Eric Kohn is now an exhibitor in Southampton, he is also consulting on multiple projects, including the Cannes documentary entry “Maverick: The Epic Adventures of David Lean.” He and a gang of revelers leaned over the railing to pose for a party photo. Let the seances begin!

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‘Final Payment’, ‘Congo Boy’ Win Top Awards At Pingyao Film Festival

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Chinese director Niu Niu’s Final Payment scooped the Best Film Award in the Fei Mu Awards of this year’s Pingyao International Film Festival (PYIFF), while Rafiki Fariala’s Congo Boy won Best Film in the festival’s Roberto Rossellini Awards.

Final Payment, which also won Best Actor for Niu Jianrong’s performance, revolves around a homeowner clashing with a contractor over the final payment following a set of renovations on his home. PYIFF’s competition jury stated: “Tearing through a very small rip, the film leads us into a reality and emotional landscape so expansive, where we sigh, lament, and reflect. The director’s approach is concise, unpretentious, and masterful, earning the wholehearted recognition of the entire jury.”

The Best Film award came with a cash prize of $150,000 (RMB1m) with half given to the director for the development of their next film, and half given to the distributor in China. Niu Niu previously directed Mr Junjun, which was awarded with the Jury Award and Youth Jury Award at PYIFF in 2023.

Also in the Fei Mu Awards, Xu Zao won Best Director for Light Pillar, while Best Actress went to Sun Yi for Wang Xiaozhen’s A Joke. The Jury Award was presented to Dong Jie’s Zoom In, Zoom Out, which had its world premiere in Venice Critics Week, while a special mention went to Cai Chengjie’s Suzhou Quartet.

The Fei Mu awards are focused on the festival’s Hidden Dragons section, which selects first, second and third films from emerging directors making Chinese-language films, while the Roberto Rossellini Awards focus on the Crouching Tigers section for emerging international directors.

Congo Boy, which took Best Film in the Roberto Rossellini Awards, also won Best Actor when it premiered in Un Certain Regard at this year’s Cannes film festival. The PYIFF award came with a cash prize of $20,000, with half given to the director for the development of their next film, and half given to the distributor in China.

The PYIFF jury stated: “The Jury unanimously has been moved by this autobiographical story, told in a simple style that echoes the great tradition of neorealism. For a film focusing on a character that confronts his world with optimism despite dark times and takes on his shoulders the destiny of his entire family.”

Also in this section, the Philippines’ Rafael Manuel won Best Director for Filipiñana, while the Jury Award went to Ben’imana, directed by Marie-Clémentine Dusabejambo, which won the Camera d’Or at this year’s Cannes. The jury also awarded Rakan Mayasi’s Yesterday The Eye Didn’t Sleep a Special Mention.

Hong Kong filmmaker Ann Hui received the Crouching Tiger Hidden Dragon East-West Award, shortly before she receives the Camellia Award at Busan International Film Festival next week.

Pingyao’s International Contribution To Chinese Cinema Award went to Marco Müller, who founded the festival with Chinese auteur Jia Zhangke and currently serves as Artistic Director of the Film Art Research Centre at Shanghai University, and veteran producer, director and former chairman of China Film Group Han Sanping. Hello Group chairman Tang Yan was presented with a 10th Anniversary Award.

This year’s PYIFF opened on September 24 with a screening of the 4K restoration of Fei Mu’s Spring In A Small Town; closed with Good Trip, co-directed by Hong Kong filmmakers Norris Wong and Hoi Wong, and also screened Jia’s short film Torino Shadow, which premiered at this year’s Cannes.

PINGYAO INTERNATIONAL FILM FESTIVAL 2026 AWARDS:

FEI MU AWARDS:

Best Film: Final Payment, dir: Niu Niu

Best Director: Xu Zao, Light Pillar

Best Actress: Sun Yi, A Joke, dir: Wang Xiaozhen

Best Actor: Niu Jianrong, Final Payment, dir: Niu Niu

Jury Award: Zoom In, Zoom Out, dir: Dong Jie

Special Mention: Suzhou Quartet, dir: Cai Chengjie

ROBERTO ROSSELLINI AWARDS:

Best Film: Congo Boy, dir: Rafiki Fariala

Best Director: Filipiñana, dir: Rafael Manuel

Jury Award: Ben’imana, dir: Marie-Clémentine Dusabejambo

Special Mention: Yesterday The Eye Didn’t Sleep, dir: Rakan Mayasi

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Chad Lowe and Kim Painter’s Daughter Fiona Dies at 13

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Actor Chad Lowe and producer Kim Painter’s 13-year-old daughter, Fiona, has died, according to a statement from the teen’s family.

“We are deeply heartbroken by the loss of our beloved Fiona,” the Lowe family said in a statement to media Tuesday evening. As the family went on, they remembered Fiona as “a loving young girl who was smart, creative, and loved to dance.”

“She was adored by her sisters and she was deeply loved by her parents,” the family’s statement added. “In fact, she was the light of our lives.”

While a cause of death was not immediately shared, the Lowes alluded to Fiona’s mental health struggles, writing, “Her passing is devastating for our entire family and we ask for prayers and privacy at this time. If you or someone you know is struggling with mental health, please reach out to the 988 Suicide & Crisis Lifeline by calling or texting 988.”

More to come…

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Tom Cruise Dusts Off Risky Business Moves for Jennifer Hudson Show Spirit Tunnel

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Tom Cruise Dusts Off Risky Business Moves for Jennifer Hudson Show Spirit Tunnel







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