Another great Cannes for ARRI cameras

ARRI is celebrating another fantastic Cannes Film Festival after a significant number of the movies in competition and in the various selections this year were shot with ARRI cameras and equipment.

ALEXA was my first experience with digital cinema and I have been surprised at the flexibility and freedom.

Of the 84 feature films in all of the festival selections, over 60% were shot with ARRI digital or film cameras, and well over 40% - almost half of the movies at Cannes - were captured with ALEXA.


Stephan Schenk, General Manager of ARRI's Camera & DI Systems Business Unit, comments: "ARRI congratulates all the nominees and winners of this year's awards. We are thankful that almost every second feature was captured with ALEXA and we especially appreciate how many films -- even those with a low budget -- embraced our uncompressed, unencrypted ARRIRAW format. Now, with the introduction of our new ALEXA XT range, which was successfully demonstrated at Cannes to professionals from all parts of the industry, customers around the world will benefit from in-camera ARRIRAW recording, an affordable and lightweight solution with the highest image performance."

One award-winning low budget film that found it made sense to record ARRIRAW was HELI, directed by Amat Escalante and shot by DP Lorenzo Hagerman. Escalante, who won Best Director at Cannes, commented, "I have always been a loyal ARRI follower, since my first ARRIFLEX 16S that I started with, up to now using the ALEXA Plus on HELI. ALEXA was my first experience with digital cinema and I have been surprised at the flexibility and freedom we were able to achieve during both the shoot and postproduction."

Continuing the partnership with Director's Fortnight for the fourth consecutive year, ARRI hosted another Happy Hour event at the company's beachside location. This event and venue has become a crucial rendezvous place for image professionals from around the world. The ARRI/ZEISS Master Anamorphic lenses, which were displayed on an ALEXA XT Studio camera, generated extremely positive feedback from filmmakers, especially with regard to their low weight and super-fast T-stop of T1.9.

Out of the 22 prizes awarded to feature films at Cannes this year, over 60% were shot with ARRI digital or film cameras, over 40% were captured with ALEXA, and over 20% utilized ARRIRAW. Here below is a list of the winning features that used ARRI cameras -- congratulations to them all. 

Grand Prix: INSIDE LLEWYN DAVIS by Ethan and Joel Cohen
DP: Bruno Delbonnel, AFC, ASC

Best Director: Amat Escalante for HELI
DP: Lorenzo Hagerman 
ALEXA; ARRIRAW; ARRI/ZEISS Master Prime lenses

Best Screenplay: Jia Zhangke for A TOUCH OF SIN
DP: Yu Lik-wai
ALEXA 4:3 anamorphic; ARRIRAW

Best Actress: Bérénice Bejo in LE PASSÉ by Asghar Farhadi
DP: Mahmoud Kalari 
ALEXA M; ARRIRAW; ARRI/ZEISS Master Prime lenses

Best Actor: Bruce Dern in NEBRASKA by Alexander Payne
DP: Phedon Papamichael, ASC
ALEXA 4:3 anamorphic; ARRIRAW

Jury Prize: LIKE FATHER, LIKE SON by Hirokazu Koreeda
DP: Mikiya Takimoto
ARRIFLEX 535B 35 mm; Zeiss Super Speed lenses

Vulcain Prize for an Artist Technician, awarded by the CST: DP Antoine Héberlé for GRIGRIS by Mahamat-Saleh Haroun 
ALEXA; Zeiss T2.1 lenses

Jury Prize -- Un Certain Regard: OMAR by Hany Abu-Assad
DP: Ehab Assal 
ALEXA; ARRI/ZEISS Ultra Prime lenses

A Certain Talent Prize: ensemble cast of LA JAULA DE ORO by Diego Quemada-Diez
DP: María Secco
ARRIFLEX 416 16 mm; ARRI/ZEISS Ultra Prime lenses

Avenir Prize: FRUITVALE STATION by Ryan Coogler
DP: Rachel Morrison
ARRIFLEX 416 16 mm; ARRI/ZEISS Ultra 16 lenses

Caméra d'Or: ILO ILO by Anthony Chen
DP: Benoit Soler 
ALEXA; ARRI/ZEISS Ultra Prime lenses

Director's Fortnight

Art Cinema Award of the CICAE and SACD Prize: LES GARÇONS ET GUILLAUME A TABLE by Guillaume Gallienne
DP: Glynn Speeckaert

Europa Cinemas Label: THE SELFISH GIANT by Clio Barnard
DP: Mike Eley, BSC

Critic's Week

SACD Prize: LE DÉMANTÈLEMENT by Sébastien Pilote
DP: Michel La Veaux