ARRI at the 67th Cannes Film Festival
More than 75% of feature films in the Official Selection Main Competition and Un Certain Regard categories at this year's Cannes Film Festival were shot with ARRI film or digital cameras, the majority of them capturing with ALEXA. Almost half of all films in competition made use of ARRI lenses, including the Palme d'Or-winning WINTER SLEEP, for which DP Gökhan Tiryaki chose ARRI/ZEISS Master Primes. Films in the selection originated from more than 30 countries, ranging from the USA to Kazakhstan and from Japan to Mauritania, showing the popularity and ubiquity of ARRI equipment worldwide.
Continuing a well-established relationship with the festival, ARRI collaborated with Director's Fortnight to host its now traditional Happy Hour event, an unmissable rendezvous for international cinematographers, directors and producers. Many of the filmmakers behind the movies in competition attended the event, which took place in glorious sunshine by the seafront.
Stephan Schenk, General Manager of ARRI's Business Unit Camera Systems, commented, "As we'd hoped, our Happy Hour primarily attracted producers and directors, not just DPs. Every one of those producers and directors had the opportunity of a hands-on look at ARRI's latest equipment, because for the first time at the festival we had a real stage with ALEXA XT, ALEXA XT M and AMIRA cameras, as well as Master Anamorphic lenses. I was very pleased that this was such a global event, both in terms of the participating ARRI staff and also our visitors, who had travelled to Cannes from all over the world."
MOMMY, directed by Xavier Dolan and shot with ARRICAM cameras and Master Prime lenses by DP André Turpin, was awarded a Jury Prize in the main competition (tied with Jean-Luc Godard's GOODBYE TO LANGUAGE). Turpin spoke with ARRI at the festival, saying, "I like very sharp, crunchy, crispy images. In Quebec, where I come from, lots of films went very sober and low contrast and desaturated for ten years, so I'm sort of sick of that. The more I do films the more I like simple, naturalistic images of quality...The Master Primes give me extreme quality images. They don't flare badly, they're all identical...I have confidence when I bring them to T1.3."
Our main camera was the ALEXA M, which is not really usual I think, and for B and C camera we had normal ALEXAs.
WHITE GOD (FEHÉR ISTEN), by director Kornél Mundruczó, won Best Film in the Un Certain Regard category. It was captured with ALEXA M and Plus cameras by DP Marcell Rèv, who also spoke with ARRI, commenting, "We shot almost the whole film from the shoulder...One of the main characters is a dog so we needed to have a flexible kind of shooting method...I tested the ALEXA M and for the eye-line of the dog I think it was a good choice. So our main camera was the ALEXA M, which is not really usual I think, and for B and C camera we had normal ALEXAs."
Other winning films that used ARRI equipment included THE WONDERS (LE MERAVIGLIE), which took the Grand Prize. Directed by Alice Rohrwacher, it was shot with ARRIFLEX 416 16 mm cameras and Ultra Prime lenses by DP Hélène Louvart, AFC. FORCE MAJEURE (TURIST), by director Ruben Östlund, won a Jury Prize in the Un Certain Regard category; it was captured with ALEXA and anamorphic lenses by DP Fredrik Wenzel. The short film prize went to LEIDI, directed by Simón Mesa Soto and shot with ALEXA XT cameras by DP Juan Sarmiento G.
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