Cannes International Film Week: The Digital Disruptor Cannes Didn’t See Coming, Unveils Award Winners for the 2025 Edition

When the Cannes International Film Week quietly launched in 2024 — streaming in tandem with the world’s most prestigious film festival — many in the industry dismissed it as a curious footnote. A digital echo. A minor chord in a symphony already saturated with film markets, red carpets, and yacht meetings.

‘Cannes Auteur Award’© for Alien Food (Italy) - Giorgio Cugno

Now, just one year later, the mood has shifted. No longer just a parallel experiment, Cannes International Film Week has returned with over 180 rigorously curated films, a clear vision, and a growing reputation among indie filmmakers and distributors alike.

There are no physical screenings, no standing ovations at the Palais. But there is something Cannes-adjacent doesn’t always guarantee: a deep commitment to discovery.

“We’re not trying to mimic Cannes,” says the festival’s director Kris De Meester. “We’re building an ecosystem that complements it — one rooted in access, curation, and equity.”

The Cannes International Film Week concludes on May 31, celebrating a fortnight of cinematic excellence. Over the past two weeks, the festival showcased 181 films from across the globe. 

Today, Cannes International Film Week is thrilled to announce the winners of the 2025 edition. From 181 extraordinary films from around the world, the jury panel has selected the following winners:

‘Cannes Auteur Award’©

For elevating the craft of filmmaking through visionary storytelling and artistic excellence.

Alien Food (Italy) - Giorgio Cugno

‘Cannes Acteur Award’©

For advancing the medium of acting by embracing simplicity, creating deeply resonant and authentic portrayals.

A Mother Goes to the Beach (Portugal) – Pedro Hasrouny

‘Cannes Lumière Award’©

For expertly transforming light and image into a motion picture.

Nico (United States) – Max Olson

‘Cannes Avant-Garde Award’©

For favoring or introducing new and experimental ideas and methods.

REEP (United States) – Jakub Blank

Best Narrative Feature Film

Diplodocus (Mexico) – Gastón Rodríguez

Best Documentary Feature Film

Last Ride Home (Canada) – Joshua Saunders

Best Narrative Short Film

Latchkey Kids (Norway) – Sindre Mangen Haram

Best Documentary Short Film

All About My State (Poland) – Piotr Jacoń

Best Experimental Film

Mova Oborony (Ukraine) – Oleksandr Isaienko

Best Underground Film

I Wish You Could Be Happy Again (France) – Jordi Gueyrard, Djimili Dimou

Best Dance Film

She Moved the Prairie (United States) – Cheyla Clawson, Bret Jones

Best Animated Film

Tennis, Oranges (United States) – Sean Pecknold

Best Music Video

Wood Dove (United States) – David Jonathan Orr

Connecting Cultures Award

Piblokto (United States) – Anastasia Shubina, Timofey Glinin

Best Episodic

The Third Sister (France) – Julien Ivanowich

The ‘Best Film Audience Award’, based on total streams, will be announced following the festival’s conclusion on May 31, 2025.

Not a Sideshow — A Signal

Perhaps most importantly, Cannes International Film Week is asking the kind of questions more legacy institutions should be asking: Who gets access? Who gets paid? And what if we stopped pretending that good cinema requires a red carpet?

For all its simplicity — a streaming site, a clean interface, some sharp programming — the festival is quietly redefining what a festival can be in the digital era. It’s still in its early stages. But if the 2025 edition is any sign, it’s no longer just “the new kid in town.”

For more information, to explore the full lineup, or to watch the winning films (until May 31), please visit: www.cannesfilmweek.com