“Cannes” by Derek Ridgers

The Cannes Film Festival is portrayed and described by some as this glamorous, prestigious, cinematic celebration that is held annually in the city of Cannes, part of the enchanting French Riviera. Nevertheless, this festival is not just an annual event; it’s a powerful symbol of cinema’s global influence, both at a historic and cultural level. Cannes was founded and envisioned in 1946 as a non-political, international showcase for cinema, focused on celebrating artistic merit. This action was born from the desire for creative freedom and cultural unity in the wake of World War ll, and during a delicate global situation where most events (as the Venice Film Festival) resulted in its politicisation and the influence of jury decisions. 

Over the years, the festival has honoured its origins by serving not only as a cultural battleground and platform for conversation, highlighting controversial or censored films and showcasing diverse, global storytelling, but also by helping to define what art in cinema truly means. Cannes champions auteur cinema: films shaped by a singular artistic vision. Yet, the festival has become a mirror to global society not only for its artistic stance, but also through the spectacle of fashion and its status as a symbol of luxury, glamour, and mad celebrity culture — qualities now embodied by its renowned red carpet.

And no one is better suited to capture a glimpse of what this emblematic, artistic event holds than Derek Ridgers. The artist is well-known for steering clear of the typical, film studio–sponsored paparazzi portraits — and it is precisely this unique perspective that his new book presents: an unfiltered photo-documentary of the other photographers and their subjects, both celebrity and unknown.

Ridgers describes his first impression of the event, and the energy surrounding it, as “one big crazy circus.” The city’s beach was packed not only with fervent film fans but also with clusters of photographers. Hundreds of mostly amateur photographers wandered around, hoping to persuade young women, both actresses and sunbathers, to pose for their cameras. It was, indeed, a crazy circus. “But a big crazy circus that drew me in, and I’d be lying if I said I didn’t find the whole thing hugely photogenic,” he notes.

In Cannes, Ridgers captures the essence of an event created to honour singular artistic visions, offering a distinctive and playful perspective. This book is not only a nostalgic journey through the history of the Cannes Film Festival, it also delivers a candid, fun experience with every turn of the page.