Cannes winners rely on ARRI equipment

At the Festival de Cannes, the vast majority of winning and participating productions relied on ARRI equipment. On the Croisette, ARRI was present at the event and behind the scenes.

May 27, 2019

From May 14 to 25, 2019, the 72th edition of the Festival de Cannes took place on the Croisette. As a supplier of products and services for the motion picture industry, it’s always important for ARRI to be present at the world’s most important film gathering—at the event and behind the scenes.

The festival opens with the premiere of “The Dead Don´t Die,” with Bill Murray, Steve Buscemi, Tilda Swinton, and other high-caliber actors hunting zombies. Jim Jarmusch’s new film appeared in the main competition and was shot by DP Fred Elmes on the ALEXA LF camera with Prime DNA lenses, provided by ARRI Rental. 

In fact, the vast majority of the participating—and winning—productions were shot with ARRI equipment, from the main competition through to “Un Certain Regard” and “Director´s Fortnight” to “Critic´s Week.” Out of the 21 films selected for best picture at the 2019 Cannes main competition, 14 were shot with ARRI cameras and 12 of these were captured with ALEXA, often mounted with ARRI lenses such as Master Primes, Master Anamorphics or Prime DNA, and with accessories such as Master Grips, and ARRI lighting of course.

The top prize at Cannes, the Palme d’Or, this year went to director Bong Joon Ho for “Parasite.” DP Kyung-pyo Hong shot this feature film, with the ALEXA 65 camera and Prime DNA lenses by ARRI Rental. 

The Best Director Prize was given to “Le Jeune Ahmed,” directed by Jean-Pierre and Luc Dardenne, shot by DP Benoît Dervaux on ALEXA Mini and ARRI/ZEISS T 2,1.

Two productions were honored with the Jury Prize Ex-Æquo: “Bacurau”, directed by Kleber Mendonça Filho and Juliano Dornelles, shot by DP Pedro Sotero on ALEXA Mini. And “Les Misérables,” directed by Ladj Ly, shot by cinematographer Julien Poupard AFC on ALEXA Mini with Master Grips that allowed him to control zooms in a very immediate and organic way while operating hand held himself.

Of all the winning productions, 13 were shot with ARRI’s ALEXA Mini, which makes this camera the most successful at this year’s festival. For all winners at a glance, please visit the official festival website. ARRI would like to congratulate all the participants and well-deserved prize recipients of Cannes 2019.

In Cannes, ARRI also hosted an inspiring evening of conversations and refreshments on the Promenade de la Croisette. In collaboration with Director’s Fortnight, ARRI welcomed several hundred customers, partners, and friends from all over the world to celebrate the artistry of cinema. Whilst enjoying “Cocktails with ARRI,” the new large-format camera ALEXA Mini LF was showcased and fruitful discussions with our experts took place. For pictures of this event, please visit Facebook.

Also worth mentioning: Director’s Fortnight hosted a master class with John Carpenter and French directors Katell Quillévéré and Yann Gonzalez. The discussion was captured with two ARRI AMIRA cameras in Multicam mode and ARRI/Fujinon ALURA Zoom lenses controlled with ARRI Master Grips and streamed live on Quinzaine des Realisateurs Facebook page and later available for replay on Facebook and “My Canal by Canal+.” The live production was realized by director Pierre Martinet and cameramen Thibaut Larrieu Gibier and Janny Bouchouit. More live streams of the Q&A sessions were followed on a daily basis on the Quinzaine des Realisateurs—captured with ARRI equipment.

ARRI Media’s International department also had a strong presence at the Marché du Film during the festival. Current motion picture highlights such as “The Ogglies” (family entertainment), “The Last Berliner” (genre cinema), and “Lysis” (drama) were featured. 

See you in Cannes 2020!

Pictures: Quentin Bourdin