Cannes, a city of contrasts from expensive villas to small apartments, from fishing boats to luxury yachts and from shopping in the many exclusive boutiques and shops to the beautiful unspoiled views found westward over the bay. Hotels are covered in huge film posters as are any available advertising support. May 19th, 5pm on La Croissette at the world’s most prestigious film festival. Poised on the red carpet, stand the photographers each with their pre-booked assigned place, black ties and the latest stills or TV gear to capture that photo or news clip that will pay handsomely or increase the ratings. In the center of the Boulevard de la Croissette, opposite the red carpet is a very narrow island where the paparazzi on their assorted ladders are poised in expectation joined by a few spectators who smiled politely at the police also anticipating something but not sure what. Tourists attempt to secure a better viewpoint by climbing up behind the photographers; guys risk neck injury with over anxious girlfriends wanting a shoulder ride to get that photo to upload on social media. Some photographers anticipating making more in the two weeks of the festival than they do all year.
Ticketed guests started to arrive in their finery, aware that the red carpet means a black tie for the guys and high heels for 
the ladies. The black limos with the odd Porsche and Ferrari are lined up ready for the celebrities to disembark at the foot of the stairs. The police lining the street and the security staff on the carpet showed floor management at its best. Cameras start snapping in the hope there might be someone famous. Once a star is recognized anyone with a camera starts screaming their names in the hope of a scoop or a souvenir of a screen idol. Then it started to rain so immediately the music from the Palais focused on sunshine and lovely dresses were shrouded in anything from a jacket to a blanket.
Anxious celebrity guests and judges prepare their arrival for the screening of Sicario, produced by Basil Iwanyk and directed by Denis Villeneuve. The film starring Emily Blunt, Josh Brolin, and Benicio Del Toro written by Taylor Sheridan, an actor who has become a script writer addresses the international and brutal world of drug trafficking. Despite a year of relatively little interest in the US, the resounding thumbs up of 
approval achieved in Cannes will go well for the Lionsgate September release.
Besides the potential blockbusters, the Festival de Cannes plays host to the Cannes Court Métrage – Short Films which aims to encourage emerging talents, experiment with particular format of short films and support the development of new initiatives.
Cannes like the Oscars is as much about the fashion, the new partners and the stars than the actual films. Although many attempt to offer shock value, try to make a curtain draped over a body look chic, or be a guinea pig in sheer fabric for some budding fashion designer, the cheers were decidedly louder when the ideal concept of princess adorned the red carpet as did Araya A Hargate a Thai actress wearing Ashi Studio Couture. I reckon any lady can look a million dollars in a beautiful custom made gown and many were not even wearing jewellery allowing the gown to dominate center stage. But at Cannes this year, shoes got an unexpected critique. At the 
screening of Cate Blanchett's new film Carol, several guests, some of latter years were turned away from the red carpet for wearing rhinestoned flat, yet comfortable shoes despite according to the official dress code, shoes are not mentioned.
This year's Festival attempted to focus on the "Year of the Women" looking at female issues and filmmakers and Agnes Varda has become the first female recipient of the honorary Palme d'Or d'Honneur or the lifetime achievement award.
In 2014, of all the films in competition there were only two female directors so the Festival organizers ensured us this year they had made all necessary efforts to address the gender imbalance between male and female directors this year. Cate Blanchett, Maiwenn and Valerie Donzelli som
e of the directors but actress Emmanuelle Bercot adamantly rejected the idea that the choice of her film as festival opener was some sort of victory for female empowerment. "It's the selection of the film that's an honor," she said. "I don't feel I've been a given a gift because such a prestigious slot went to a woman." At a panel session sponsored by the trade publication Variety and UN/Women last Saturday “Cinema has been undermining women’s intelligence for a long time,” said Salma Hayek Pinault, Mexican/American film actress, director, and producer.
Interestingly, among the numerous black-tied cameramen and sound technicians, I saw not one ball gowned press photographer. If women do so well in front of the camera why not behind? Are there no more pre-bookable slots on the carpet, is there concern they will be confused with the stars or does the Year of the Women need a little more work to put in focus what is right?