70 feasts, 70 palme d’or, 70 selections, 70 presidents and … 70 stories rewinding the film of all those ceremonies and glorious years, written by some of the most enlightened critics and meticulous, not only from France but also from America, Italy, the Russia, l’India, Mexico and Turkey, able to capture the rich diversity of Cannes, a city that opens its arms for a short time each year to a dream that begins again with each new festival's season.

“Those years” It tells the story of an adventure that began in 1939 in the context

the beginning of World War II and rebirth in 1946 as a way to deliver oblivion horrors. The story melancholy and appealing to an institution that, despite its occasional moves and prejudices, He has never failed in its primary mission: DISCOVER. The history of the Masters (Rossellini, Truffaut, Loach, Coppola, Wajda, Wenders, Lynch and Tarantino) and their MASTERPIECES (The Leopard, The sweet life, The Umbrellas of Cherbourg, Blow up, Taxi Driver, Paris Texas, Underground, The Tree of Life). But even an idea, a vision of cinema that is constantly renewed, that pushes the limits, and goes on and on. The journalists selected by Thierry Frémaux, Festival Director General, testify to the permanence of this obsession: Georges Simenon, jury president, the upheaval of May 1968, the Nazi salute Maurice Pialat, the uncertain consecration of Oncle Boonmee, the engaged position of The Class or Fahrenheit 9/11, but above all those secrets and shared happy moments.

In this event any among younger people will wonder he was born what is considered one of the biggest film festivals in the world? 1939? 1946? Not to mention the two editions canceled for lack of funds and the edition canceled because of the political upheavals of May 68. First, we recall the political origins of the Festival: fight fascism placing itself in opposition to the turn in date 1938 the Exhibition of Art film included in the Venice Biennale since Mussolini 1932. In 1937 In fact, Venice had won the Renoir film by pacifists Grand Illusion tones, and by contrast the following year to make liking to Nazi allies, in spite of the regulation of the exhibition which prohibited to reward documentaries, Olympia by Leni Riefenstahl gets the Mussolini Cup ex aequo to the movies on the Italian Goffredo Alessandrini Luciano Serra Pilot. Even the pressure of the Allies British and Americans who wanted to enter the European film market, however, had its role. But it was thanks to Philippe Erlanger, French government representative at the Venice Film Festival that the idea took shape. It was the 1939 when the idea is passed to the facts with the choice of place to unwind. The choice of Cannes as the venue had to counter that of the Show at the Lido of Venice. Obviously Venice is unique, but Cannes in these 70 years has proven to be equaled. For the first edition, scheduled for 1 September 1939, the presidency was entrusted to Louis Lumière, inventor of the cinema. They were also invited Germany and Italy, which obviously they declined their participation, while the United States, Britain and the Soviet Union promised their presence. In short, a festival in mid. Actually the idea was born from the desire to create not only a democratic counterpoint to the exhibition but also for artistic reasons, the aim was to extend the influence of France and contribute to the economic development of its film industry. As one of the main objectives was to preserve good diplomatic relations, each host country had the opportunity to select the movie he wanted to present and designate a member of the jury. Finally, to prevent rivalry was decided that each participating country receives a 'Grand Prix'. Unfortunately, we know how it went. Indeed, although everything was ready for the inauguration, in 1939 Nazi Germany invaded Poland that very helpless September 1 that was to see the birth of the Festival. And so the 26 films that were selected were not shown to the public in Cannes. The only projection that was made at the time despite the circumstances was the Hunchback of Notre Dame by William Dieterle, for which the Americans had constructed a cardboard replica of the Notre Dame Cathedral on the beach in Cannes.

Only perseverance of Philippe Erlanger allowed at the end of the World War

second official birth of the Festival in September 1946. The competition was attended by 19 countries and the international jury was chaired by Georges Huisman. The competition began 20 September 1946 at the Cannes Municipal Casino. The event's tone is pacifist ideal of understanding between the participating countries and the settlement of which dated back to that of 1939. So every country had already appointed its own member of the jury and selected the film to be presented. The number of the films was determined as production output of each country in the twelve months prior to the event. The jury also had the option to refuse a film in the competition if it is considered that it could “offend national sensibilities of any state” (article 7). finally, and especially, each country will get with your “Big prize” (article 10).

A successful Festival, despite some protests. During the first projections, although the films were presented “in their original language without subtitles” (article 14), the crowd roaring in the room testifies to the excitement for the event. Unfortunately, the projection conditions were less than ideal. Some projections provoke discontent, including that of a Soviet short film about the liberation of Berlin (Juli Raisman Berlin), interrupted several times due to technical reasons. There was talk of political sabotage. Robert Favre Le Bret, secretary general who worked for Philippe Erlanger, He was forced to use all his diplomatic skills to calm the USSR delegation organizing a second screening. A touch of color is that after attending the screening of Notorious, Robert Chazal would comment with a touch of humor: “Alfred Hitchcock hired her match: the projectionist added to the suspense of the Notorious own, forgetting to project an entire reel of film”. In his defense, he had to say that this aspect of performing the screening had been neglected in the preparations and the front projection had been recruited from the city gardeners …

Yet the first edition of the Festival, with its ups and downs and the films anecdotes, It will be remembered as a successful event and the sign of a historic cinematic renewal.

That year saw the birth among other things on the Croisette of Prodomi of Italian neo-realism with the screening of Rome, Open City by Roberto Rossellini. And the audience discovered Michèle Morgan, first winner of the award for Best Actress in film history for his role in the film Pastoral Symphony. But The Battle of the Rails René Clément, tribute to the strength of the railroad and many films that have gone in cinematic history – especially Notorious Hitchcock and Gilda Charles Cukor and the closing film of the first edition of the Cannes Film Festival Beauty and the Beast by Jean Cocteau .

In 1958, Philippe Erlanger, first author of the Cannes Film Festival, reconsidered event genesis and the Ghost Festival 1939 con François Chalais, a journalist inextricably linked to the legend of Cannes, whose programs “Reflets de Cannes” They had so fueled the myth.

In 2002, the Festival decided to retrieve this event from oblivion with a tribute. They were then screened seven films, including the Wizard of Oz Vietor Fleming. The jury to award the festival 1939 ra chaired by the writer Jean d'Ormesson assisted by directors of international festivals including Dieter Kosslick (Berlinale), Alberto Barbera (Venezia), Lia van Leer (Jerusalem), by Tunisian director Ferid Boughedir and director Raymond Chirat. Ben 63 years after, the Palme d'Or was unanimously awarded to Pacific Express Cecil B film. DeMille. The title echoed the original vision of Festival: “to create a spirit of collaboration between the productions across the”. With a hint of humor, The jury also paid tribute to two women's hopes for her which presaged a promising career, Judy Garland nel The Wizard of Oz di Vietor Fleming e Miehèle Morgan in The Loi Du Nord di Jaeques Feyder … ‘

But there is also to remember these early 70 years of the Cannes Film Festival for

inevitable scandals and controversies. In fact, to celebrate this special edition, The Cinémathèque Française pointing her spotlight from 26 April to 28 May 2017, with a retrospective, his 26 films that have created controversy on the Croisette. Thierry Frémaux, General Delegate of the Festival de Cannes, will accompany this program of films that have gone down in movie history. The same Thierry Frémaux commented about: The Cannes Film Festival celebrates its 70th edition this year, the first event canceled in 1939 and its revival in 1946, but it is not easy to find the one that best captures his spirit: The official selection, the list of winners, Golden Palm, i gradini, or the red carpet? The print, the market, the public? They are all those naturally, But another thing has also been a constant feature throughout the history of the festival: the scandals and controversies, movies that shocked or disturbed the public, or those who have been discouraged or condemned. Similarly those works that have made the Festival, These are also part of the legend. Yet it would be too hasty simply define them as problems: all the films that have caused disappointment on the Croisette have led to wonderful discussions, and each of these has raised questions in their own way about the history of contemporary cinema and helped prevent the world's biggest party will become a place of official consent.

A part of the success of the Festival was also due to the various locations used and implemented ad hoc to adapt to the ever-increasing requirements of the event, starting from the Municipal Casino to the current Palais des Festivals. Earlier in 1939 He was thought a movie theater at the Municipal Casino that existed since 1907. Just in the room 1000 in seats formed in the Casino 1939 It was made the only screening of The Hunchback of Notre-Dame William Dieterle – a few days before the outbreak of the war and the subsequent cancellation of the event for several years.

In 1946, with the official organization of the event shooting, the second first edition was still held in that room even reaching an agreement with rival Venice to alternate annually in the organization of two events which are similar. However, the following year, thanks to the efforts of the Municipality of Cannes was started the construction site on the grounds of the Club Nautico completed with great difficulty and although completed at very short notice the awards ceremony took place at the Casino because of the damage suffered by the structure

Following a violent storm. Even the 1948 it was not a favorable year, the festival was canceled for budgetary reasons and to allow the completion of the Palais on the Croisette which had suffered delays in the execution. Only a year later the building was finally to be inaugurated by certain François Mitterrand. E arriviamo all'attuale Palais des Festivals and Congresses, designed in the late 50s to meet the growing demand for places and salt and then realized and integrated as we know it. Meanwhile in 1988, the Palais Croisette was demolished.

For the eighth consecutive year, the Cannes Film Festival, l'INCAA and Marché du Film ospitano Week Cannes Film Festival to BUENOS AIRES. The event took place between November and December 2016 eat part of South Window, largest Latin American film market, Also organized by the Cannes Film Festival, INCAA e il Film Market. Six of the most memorable films from 2016 Official Selection at Cannes have been screened in Argentina: CAPTAIN FANTASTIC di Matt Ross (directed Prix Un Certain Regard), TONI

Erdmann di Maren Ade, SHE di Paul Verhoeven, BUSAN PER Treno in Yeon Sang- Ho, JUST THE END OF THE WORLD di Xavier Dolan (Grand Prix) and the Palme d'oro: I, Daniele BLAKE Ken Loach. The Film Week was introduced filed by Thierry Frémaux, insieme a Isabelle Huppert e Viggo Mortensen, Guests of honor of the event, to present their films and share their experiences and views with the Argentine public.

In fact, after the 42nd ceremony César, where they were generously rewarded Elle, Just the end of the World (it's just the end of the world) e I, Daniel Blake, as well as the recent recognition for Forushande (The Client) Oscars, remember the official selection in competition of last year.

American Honey ANDREA ARNOLD BAFTA – Outstanding British Film;

AQUARIUS di Kleber Mendonça Filho nominato al Caesar – Best Foreign Film; baccalaureate Cristian Mungiu nominated for a César – Best Foreign Actress EFA – Best European Director EFA – Best European Production Designer; SHE PAUL VERHOEVEN who dug out in France and abroad in both the Golden Globe Awards Best Foreign Language Film, Best actress Isabelle Huppert, but also Goya – Best European Film and the César for Best Film and Best Actress Isabelle Huppert always with. The film also won the Oscar Nominations - for leading actress Isabelle Huppert, César – Best director, César – Best Supporting Actress for Anne Consigny César – Best Supporting Actor César for Laurent Lafitte – Best Acting Debut for Jonas César Bloquet – César for Best Cinematography Stéphane Fontaine – Best Adapted Screenplay for David Birke César – Best Editing for Job Ter Burg César – Best sound for Jean-Paul Mugel, Alexis Place, Cyril Holtz e Damien Lazzerini César – Best original music by Anne Dudley EFA – Best European Film EFA – Best European Director EFA – Best European Actress Isabelle Huppert. And also it will be Bode work

by ASGHAR FARHADI Oscar Award – Best Foreign Film and nominated for a Golden Globe – Best Foreign Language Film, is another award-winning The, DANIEL BLAKE di KEN LOACH, awarded to excellent -as BAFTA British film César – Best Foreign Film, but also the EFA nominee – Best European Film, Best European Director, Best European Actor for Dave Johns EFA, Best European Production Designer Paul Laverty for BAFTA – Best Film BAFTA – Best Director BAFTA – Best Original Screenplay BAFTA for Paul Laverty – Best Actress for Hayley Squires and Goya – Best European Film. But even the JULIETA PEDRO ALMODOVAR, award at the Goya – Best Actress for Emma Suárez and nominated for Best European Film EFA, Best European Director, Best European Actress Emma Suárez and Adriana Ugarte, BAFTA Best Film not in the English language, Goya for Best Picture, Best Director, Best Adapted Screenplay, Best Original Song, Best Special Effects Goya, Best Makeup and Hairstyles; JUST THE END OF THE WORLD of XAVIER DOLAN awarded Best Director Cesar, Best

actor Gaspard Ulliel, Best Editing, Best Foreign Actress, Best Supporting Actress Nathalie Baye and Best Supporting Actor Vincent Cassel; DAUGHTER UNKNOWN di JEAN-PIERRE E LUC DARDENNE, nominated for a Cesar – Best Foreign Film; LOVING di JEFF NICHOLS , nominated for an Oscar – Actress Ruth Negga, Golden Globe best actress ever with Ruth Negga and best actor Joel Edgerton; MA loute BRUNO DUMONT awarded to César Best Original Screenplay, Best actor Fabrice Luchini, Best supporting actress Valeria Bruni Tedeschi César, Best female fiance Raph, Best Costume with Alexandra Charles, Best decor with Riton Dupire-Clément, Best Cinematography Guillaume Deffontaines; EVIL STONE of NICOLA GARCIA, nominated for a Cesar, STAY VERTICAL di ALAIN GUIRAUDIE, Named Cesar; and finally TONI ERDMANN of MAREN ADE awarded EFA – Best European Film, Best European Director, Best European Actress Sandra Hüller, Best European Actor Peter Simonischek and Best European Production Designer, and nominated for an Oscar – Best Foreign Film, Caesar have – Best Foreign Film, I Golden Globe – Best Foreign Language Film and BAFTA – Best Film Not in the English Language.

Continuing the theme of the Festival this year history of the Cannes Classics program

2017 It will be dedicated mostly to the films that made history.

Almost fifteen years ago, when the relationship between contemporary cinema and its memory was shaken by the advent of emerging digital technology, the Cannes Film Festival created the Cannes Classics section, a selection showing the enhancement of the work of the heritage film produced by production companies, rightholders, the Cinematheque or the national archives worldwide. This year's program consists of twenty-four projections, a short film and five documentaries. The films will be screened as desired by the holders of the copyrights in DCP 2K or 4K DCP while L'Atalante by Jean Vigo expressed wish of Gaumont will be screened in 35mm. The films will be screened in the Palais des Festivals, Salle Buñuel o Hall Sixtieth, in the presence of those who have restored them and, if they are still with us, by those who directed them. As we said the films selected for this year's 2017 mainly concern the history of the Cannes Film Festival. They come from nations that have allowed the Festival de Cannes to become a special place of cinematic discoveries: Hungary, Lebanon, Serbia, UK, Italy, United States, Israel, Mauritania, Niger, Poland, Switzerland, Japan, Spain, Netherlands, Canada, Belgium and Australia. Countries also believe that the protection of the heritage of cinema is essential. So it is proposed on the occasion of the celebration of its 70th edition, a brief history of the Cannes Film Festival, from 1946 al 1992, da René Clément Victor Erice, in sixteen films that have made the history of the Festival de Cannes.

1969: Matzor (Seat / seat) Gilberto Tofano (1h29, Israel)

1970: Soleil O (Oh, Sun) Med Hondo (1h38, Mauritania-France): Critics Week

1983: Narayama Bushikō (Ballad of Narayama/La Ballade de Narayama) by Shôhei Imamura (2h13, Japan): Palme d’or.

1992: The Quince Tree Sun (Dream of Light) Victor Erice (2H20, Spain): Award tied Jury, Price International Critics -FIPRESCI.

1951-1999: A little history of short films presented at Cannes: Spiegel van Holland (Mirrors Holland) di Bert Haanstra (1951, 10mn, The Netherlands) / The Seine Meets Paris di Joris Ivens (1958, 32mn, France) / No two di Norman McLaren (1968, 13mn, Canada) / Harpya di Raoul Servais (1979, 9mn, Belgium) / Peel di Jane Campion (1986, 9mn, Australia) / Interview di Xavier Giannoli (1998, 15mn, France) / When the Day Breaks di Amanda Forbis and Wendy Tilby (1999, 10mn, Canada)

Together with previous restored films will be presented the following:

Lady... di Max Ophüls (1953, 1H45, France).

L'Atalante Jean Vigo (1934, 1H28, France)

Native Son (Black blood) di Pierre Chenal (1951, 1h47, Argentina)

Di Paparazzi Jacques Rozier (1963, 18mn, France)

Lucia di Humberto Solas (1968, 2H40, Cuba)

And finally the history of cinema told by the cinema itself, in the presentation of five documentaries: