Since its inception in 1946, the Cannes Film Festival has been one of
the most prestigious platforms in the world for celebrating cinema. But
beyond the glitz, red carpets, and Palme d’Or accolades, Cannes has
also played a pivotal role in elevating LGBTQ voices, stories, and
artists—sometimes subtly, often boldly—reflecting the evolving societal
attitudes toward gender and sexuality. The festival’s history with LGBTQ
cinema is one of both radical defiance and groundbreaking artistry.In
its early decades, Cannes mirrored the broader hesitations of global
cinema when it came to queer representation. LGBTQ characters were often
relegated to subtext or stereotypes due to the constraints of
censorship and social norms. However, some films, such as La Dolce Vita (1960) by Federico Fellini, which premiered at Cannes, offered glimpses of queer identities, though often coded and indirect.
A Quiet Emergence (1970s–1980s)
The
1970s and 1980s marked a period of emerging LGBTQ visibility at Cannes,
paralleling the rise of liberation movements globally. In 1987, Pedro
Almodóvar—an openly gay Spanish director—debuted Law of Desire,
a film centered on a gay love triangle. Though it wasn't officially in
competition, its provocative content and unapologetic portrayal of queer
desire positioned Almodóvar as a bold new voice. Almodóvar would go on
to become a Cannes regular and win Best Director in 1999 for All About My Mother, a film that sensitively explored themes of gender identity and sexuality.
New Queer Cinema and Global Recognition (1990s)
The
1990s were transformative. The rise of New Queer Cinema brought raw,
unapologetic queer stories to the forefront, and Cannes became an
important stage for this movement. Films like The Adventures of Priscilla, Queen of the Desert (1994) brought drag and trans identity to international attention. Todd Haynes’ Velvet Goldmine (1998), which explored glam rock’s queer aesthetics, was nominated for the Palme d’Or and won the Special Jury Prize.
In 1997, the jury awarded the Palme d’Or to Taste of Cherry
by Abbas Kiarostami, a film interpreted by some as a metaphor for queer
alienation and existential struggle. While not overtly LGBTQ, the
film's openness to interpretation signaled Cannes’ willingness to
embrace ambiguous and layered narratives.
Mainstream Queer Recognition (2000s–2010s)
The 21st century brought a wave of international LGBTQ cinema to the Cannes spotlight. In 2013, Abdellatif Kechiche’s Blue Is the Warmest Colour
made history as the first film to win the Palme d’Or and have the prize
explicitly awarded to its two lead actresses, Adèle Exarchopoulos and
Léa Seydoux, alongside the director. The film, a deeply intimate lesbian
love story, stirred both acclaim and controversy—for its raw portrayal
of sexuality and for concerns over the male gaze.
Other notable entries include Carol (2015) by Todd Haynes, a refined and deeply emotional story of lesbian love in the 1950s, and 120 BPM (Beats Per Minute) (2017) by Robin Campillo, a French film about the AIDS activist group ACT UP Paris. 120 BPM won the Grand Prix and became a cultural touchstone, reflecting both LGBTQ history and the fight for visibility and survival.
Expanding the Spectrum (2020s–Present)
Cannes has increasingly opened its arms to stories from across the LGBTQ spectrum. In 2022, Lukas Dhont’s Close, a film exploring adolescent male intimacy and emotional repression, won the Grand Prix. In 2023, Hirokazu Kore-eda’s Monster
introduced a nuanced narrative that dealt with queer youth experiences
in contemporary Japan, subtly weaving queerness into a broader critique
of societal judgment and misunderstanding.
Trans
narratives, nonbinary characters, and intersectional queer experiences
are becoming more visible at Cannes, thanks to a growing international
pool of filmmakers. The Queer Palm, an independently sponsored award
established in 2010, further cements Cannes’ recognition of LGBTQ
cinema. Though not officially part of the festival's awards, it
highlights the best LGBTQ-themed films across all sections, helping to
spotlight lesser-known gems.
Beyond the Screen: Queerness on the Croisette
The
festival is not only about the films—it’s also about the people who
make them. Cannes has seen openly queer directors, actors, and jury
members become central figures on the international stage. Xavier Dolan,
a gay Canadian filmmaker, has had several films in competition,
including Mommy (2014), which won the Jury Prize. His work and visibility as a young queer auteur have been influential.
Moreover,
the red carpet itself has become a site of subtle (and sometimes overt)
queer expression, where fashion, gender performance, and visibility
converge. From Tilda Swinton’s androgynous glamour to queer couples
walking hand in hand, Cannes has gradually evolved into a space of
representation both on and off screen.
Conclusion: A Festival of Queer Possibilities
While
not without criticism or controversy, the Cannes Film Festival has
undeniably contributed to the advancement of LGBTQ cinema. From early
subtexts to full-throated celebrations of queer identity, Cannes has
chronicled—and at times catalyzed—the shifting tides of queer visibility
in film. Its legacy is not only one of cinematic prestige but also of
cultural impact, pushing the boundaries of what stories are told and who
gets to tell them.
As new generations of filmmakers continue to
expand the definition of queer cinema, Cannes remains a vital, if
imperfect, mirror of our global journey toward inclusion,
representation, and artistic freedom.
