Since 1969

Presentation Directors’ Fortnight

Édouard Waintrop, Artistic Director of the Directors’ Fortnight

“The Directors’ Fortnight is literally the most open of all the Cannes sections. Meaning that besides presenting international and world premiers, which is the least you’d expect of an important section within the greatest/biggest film festival in the world, it is not bound by any obligations. Its concern is to bring new talents to the fore, surprise audiences with new and unknown facets of known talents; to vary the pleasures, in a word, to show what’s most exciting in world cinema and what rises to the top among the new trends.”

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Quinzaine over the years

1969

Inaugural edition of the Fortnight, under the direction of Pierre-Henri Deleau, who will embody its spirit for the next 30 years.
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1970

1970 also marks the appearance of the Fortnight's first catalogue.
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1971

Fortnight films include George Lucas's THX-1138, Alain Tanner's La Salamandre, and Volker Schlondorff's, The Sudden Wealth of the Poor People of Kombach.
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1972

The Fortnight selection includes Paul Morrissey's Heat, Morrissey's earlier, The Chelsea Girl had be selected for Cannes in 1967, but was not shown due to censorship problems.
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1973

Youssef Chahine's Al Ousfour (The Sparrow) escapes the Egyptian censors by being shown at Cannes (the print had already arrived in France) and at same time wins the National Grand Prize back home. T
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1974

Martin Scorsese and Robert de Niro attend Cannes for the first time to present Mean Streets, screened in the Fortnight.
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1975

The Fortnight is officially recognized: Michel Guy, the state secretary for cultural affairs, opens the event.
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1976

The Fortnight opens with Nagisa Oshima's In the Realm of the Senses. The film is a triumph, so much so that the five scheduled screenings are increased to 12.
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1977

The year is overshadowed by the death of Henri Langlois - the Fortnight poster pays tribute to the founder of the Cinémathèque Française.
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1978

The Fortnight celebrates its 10th anniversary and presents such benchmark films as Werner Schroeter's Il Regno di Napoli, Alain Fleischers' Zoo zéro and Fernando Solanas' Los Hijos de Fierro, which had not been released due to the coup d'état of 1976.
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1979

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1980

French films are no longer part of the Fortnight selection, but have their own program: "Perspectives on French Cinema" organized by the SRF.
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1981

Opening of a Super-8 section that will last until 1983. Diego Risquez' Bolivar's sinfonia tropical is such a hit that it is subsequently blown up to 35mm and again shown at the Fortnight a year later.
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1982

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1983

After the opening of the new Palais des Festivals for the Official Selection, the Fortnight moves to the Palais Croisette, thus increasing its seating capacity from 500 to 1,500. Will the audiences grow accordingly ?
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1984

Jim Jarmusch's Stranger than Paradise wins the Caméra d'Or.
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1985

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1986

The number of screenings for each film is increased from three to four, with maximum seating increasing from 4,500 to 6,000 to accommodate "the most attentive, most generous audience I could hope to have" (Lizzie Borden, presenting Working Girl).
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1987

A first: the Fortnight presents a "surprise film": Ken Friedman's Made in U.S.A, in its director's cut - the producer had entirely reedited the film against the director's wishes.
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1988

It's the very last year for the Palais Croisette, which is to become a hotel complex. Mira Nair's Indian film, Salaam Bombay, wins the Caméra d'Or.
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1989

Another move: the screenings are now divided between the Debussy auditorium at the new Palais des Festivals and the Arcades theater.
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1990

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1991

World premiere of Jaco van Dormael's Toto le héros, which receives the Caméra d'Or.
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1992

Yet another move (the sixth in 24 years!) - this time to the Noga Hilton, built on the website of the old Palais Croisette. This is where screenings are still held today.
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1993

The Fortnight is 25, "a quarter of the age of cinema," as Denys Granier-Deferre, president of the SRF, writes in the catalogue foreword.
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1994

The Caméra d'Or is awarded to Pascale Ferran's Petits arrangements avec les morts.
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1995

An Iranian film by Jafar Panahi, The White Balloon, wins several awards: the Caméra d'Or, the Fipresci Prize and the Cicae Prize.
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1996

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1997

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1998

Marc Levin's Slam, sweeps the Caméra d'or, The Cicae Prize and the Public Prize of the City of Cannes.
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1999

The Fortnight has a new team. Marie-Pierre Macia is appointed artistic director by the SRF.
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2000

Zamani barayé masti asbha (A Time for Drunken Horses) by Iran's Bahman Ghobadi won the Caméra d'Or and the FIPRESCI prize.
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2001

The Fortnight also held its first midnight screening: a compendium of short, silent erotic films called Polissons et Galipettes.
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2002

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2003

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2004

Olivier Père is named the new artistic director of the Directors' Fortnight by the SRF. He intends to "restore the singularity and audacity of this prestigious, world-rank event."
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2005

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2006

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2007

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2008

The Directors' Fortnight celebrated its 40th anniversary. This year's three special screenings had a more or less direct connection to the Fortnight's 40th anniversary.
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2009

The Fortnight lived through historic hours by welcoming Francis Ford Coppola and his most recent film Tetro . And is glad to present the Xavier Dolan's first feature, J'ai tué ma mère.
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2010

This is the first year of Frédéric Boyer as the Fortnight artistic director. He replaces Olivier Père, who now works at the Locarno Film Festival. Frédéric Boyer has been a member of the selection comity for 6 years before becoming Artistic Director.
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2011

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2012

This is the first year of Edouard Waintrop as the Fortnight artistic director.
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2013

The Camera d'or is awarded to Anthony Chen 's Ilo Il.
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2014

As a wink to the history of the Directors' Fortnight, The Texas Chainsaw massacre by Tobe Hooper was shown to the audience again, 39 years after its premiere at Cannes, for its 40th anniversary.
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2015

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The Director's Fortnight Films

Type either a Fortnight year, a film title or a director.