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Critics' Week
Critics' Week
Critics' Week
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Critics' Week
LocationCannes, France
Founded1962
AwardsGrand Prize
Websitewww.semainedelacritique.com Edit this at Wikidata

Critics' Week (French: Semaine de la critique), until 2008 called International Critics' Week (Semaine internationale de la critique), is a parallel section to the Cannes Film Festival organized by the French Syndicate of Cinema Critics.

History

[edit]

Critics' week was created in 1962, after the French Syndicate of Cinema Critics' successful campaign for Shirley Clarke's The Connection to be screened at the 1961 Cannes Film Festival.[1] It is the oldest non-official Cannes sidebar.[2][3]

Critics' Week's objective is to discover and support new talents, showcasing first and second feature films by directors worldwide. Bernardo Bertolucci,[4] Philip Kaufman, Ken Loach, Tony Scott, Agnieszka Holland,[5] Leos Carax, Wong Kar-wai,[6] Guillermo del Toro,[7] Jacques Audiard, Arnaud Desplechin, Gaspar Noé,[6] François Ozon,[8] Andrea Arnold,[9] Alejandro González Iñárritu, Julia Ducournau,[6] Justine Triet,[10] all began at Critics' Week.

Since its creation in 1990 and until 2010, there was no jury at Critics' Week. Journalists of all nationalities were invited to vote at the end of each screening of the films in competition, after which the Grand Prize was awarded. In 2011, on the occasion of its 50th edition, Critics' Week formed an international jury made up of four critics and chaired by Korean filmmaker Lee Chang-dong. Thereafter, the jury has been presided over by a director and consists of four members with writing, filmmaking, acting or programming backgrounds.[11] Notable jury presidents have included Bertrand Bonello, Miguel Gomes, Andrea Arnold, Ronit Elkabetz, Valérie Donzelli, Kleber Mendonça Filho, Joachim Trier, Ciro Guerra and Cristian Mungiu.[12]

Description

[edit]

Critics' Week presents a selective program of seven feature films and ten short films in competition.[13] There are also special screenings which are kept few in number in order to provide them greater visibility.[14] Feature films compete for Grand Prize, the SACD Prize, which is awarded for best screenplay, and the Gan Foundation Award, which helps films get distribution.[15] Short films can receive the Canal+ Award and the Discovery Award.[16] Debut feature films are eligible for the Caméra d'Or, which is open to all first films in Official Selection and the parallel sections at Cannes.[17]

Main awards

[edit]

Feature films

[edit]

Feature film awards include:[16]

  • Grand Prize (Grand Prix)
  • French Touch Prize of the Jury (Prix French Touch du jury)
  • Louis Roederer Foundation Rising Star Award (Prix Fondation Louis Roederer de la Révélation)
  • Gan Foundation Award for Distribution (Prix Fondation Gan à la Diffusion)
  • SACD (Société des Auteurs et Compositeurs Dramatiques) (Prix SACD)[18]

Short films

[edit]

Short film awards include:[16]

  • Discovery Award (Prix Découverte Leitz Cine)
  • Canal+ Award (Prix Canal+)

Discontinued awards

[edit]
  • France 4 Visionary Award (Prix Révélation France 4) (2012–2017)[19][20][21]

Grand Prize winners

[edit]

The Grand Prize (Grand Prix) is the top prize of Critics' Week. In 2001, the prize was sponsored by the French energy company Primagaz.[22] Between 2011 and 2021, the Grand Prize was known as the Nespresso Grand Prize, named for its sponsor Nespresso.[23][24][25]

Year English title Original title Director(s) Production country Ref.
2001 Under the Moonlight زیر نور ماه Reza Mirkarimi Iran [26]
2002 Respiro Emanuele Crialese Italy, France [27]
2003 Since Otar Left Depuis qu'Otar est parti... Julie Bertuccelli France, Belgium [28]
2004 A Common Thread Brodeuses Éléonore Faucher France [29]
Or (My Treasure) אור Keren Yedaya France, Israel [30]
2005 Me and You and Everyone We Know Miranda July United States [31]
2006 Poison Friends Les Amitiés maléfiques Emmanuel Bourdieu France [32]
2007 XXY Lucía Puenzo Argentina, Spain, France [33]
2008 Snow Snijeg Aida Begić Bosnia and Herzegovina, Germany, France, Iran [34]
2009 Adieu Gary Nassim Amaouche France [35]
2010 Armadillo Janus Metz Pedersen Denmark [36]
2011 Take Shelter Jeff Nichols United States [37]
2012 Here and There Aquí y allá Antonio Méndez Esparza Spain, United States, Mexico [38]
2013 Salvo Fabio Grassadonia and Antonio Piazza Italy, France [39]
2014 The Tribe Плем'я Myroslav Slaboshpytskyi Ukraine [40]
2015 Paulina La patota Santiago Mitre Argentina, Brazil, France [41]
2016 Mimosas Oliver Laxe Spain, Morocco, Franace, Qatar [42]
2017 Makala Emmanuel Gras France [43]
2018 Diamantino Gabriel Abrantes, Daniel Schmidt Portugal, France, Brazil [44]
2019 I Lost My Body J'ai perdu mon corps Jérémy Clapin France [45]
2020 Festival cancelled due to the COVID-19 pandemic
2021 Feathers ريش Omar El Zohairy France, Egypt, Netherlands, Greece [46]
2022 The Pack La jauría Andrés Ramirez Pulido Colombia, France [47]
2023 Tiger Stripes Amanda Nell Eu Malaysia, Taiwan, Singapore, France, Germany, Netherlands, Indonesia, Qatar [48]
2024 Simon of the Mountain Simon de la montaña Federico Luis Argentina, Chile, Uruguay [49]
2025 A Useful Ghost ผีใช้ได้ค่ะ Ratchapoom Boonbunchachoke Thailand, France, Germany, Singapore [50]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Critics' Week

View on Grokipedia
from Grokipedia
La Semaine de la Critique, commonly known as Critics' Week, is an annual parallel section of the that focuses on discovering and promoting emerging cinematic talent through the presentation of first and second feature , as well as short , from directors worldwide. Founded in 1962 by the French Union of Film (Syndicat Français de la Critique de Cinéma), it serves as the oldest independent sidebar of the festival, operating alongside the Selection to highlight innovative works outside the main competition. Organized by a committee of film critics, Critics' Week receives over 3,000 submissions each year and selects approximately 11 feature films and 13 short and medium-length films for screening during the nine-day event, which runs concurrently with the Cannes Film Festival in May. Seven feature films compete for the section's top honors, judged by a panel of critics, while all selected features are eligible for the Cannes-wide Caméra d'Or award for best debut film. The primary prize, the AMI Paris Grand Prize, recognizes the outstanding feature film, with additional awards including the French Touch Prize of the Jury for the most innovative French film, the Louis Roederer Foundation Rising Star Award for best actress or actor, the Leitz Cine Discovery Prize for short films, and others such as the GAN Foundation Award for distribution support and the SACD Award for best screenplay. Over its six decades, Critics' Week has played a pivotal role in launching international careers, with alumni including acclaimed directors such as , , and , and contributing to 10 victories from its selections. The section emphasizes diversity, having showcased over 700 films from nearly 50 nationalities, and fosters global collaboration through initiatives like the Next Step program, a workshop supporting directors in transitioning to their first feature films.

History

Founding

Critics' Week, known in French as La Semaine de la Critique, was established in 1962 as an independent parallel section of the by the French Union of Film Critics (Syndicat Français de la Critique de Cinéma). The initiative arose directly from the union's campaign to include Shirley Clarke's debut feature The Connection (1961) in the official selection of the 1961 , which ultimately failed despite efforts to highlight its innovative style and subject on among musicians. Although The Connection was screened out of competition at the 1961 festival due to these advocacy efforts, its critical acclaim underscored the need for a dedicated space to champion bold, underrepresented works that might otherwise be overlooked by the main competition. The inaugural edition of Critics' Week took place during the 1962 , curated by members of the French Union of Film Critics and programmed at the Salle . It featured seven feature films and several short films, all presented as world premieres to emphasize fresh voices in global cinema. Notable selections included Adieu Philippine by (), Mauvais Garçons by Susumu Hani (), La Toussaint by Tadeusz Konwicki (), I Nuovi Angeli by Ugo Gregoretti (), Les Inconnus de la Terre by Alexandre Astruc (), Football by Zoltán Fábri (Hungary), and Alias Gardelito by Fernando Birri (Argentina), alongside shorts that complemented the focus on emerging talent. This structure was proposed at the request of Cannes Robert Favre le Bret, marking the first time film critics independently selected and programmed an official sidebar event. The founding motivation centered on promoting innovative cinema from underrepresented regions and first-time directors, addressing gaps in the official lineup by prioritizing artistic risk-taking over commercial appeal. Key figures included the union's leadership, who handled programming, and film critic Nelly Kaplan, who coined the name La Semaine de la Critique to reflect its critical ethos. This origin positioned Critics' Week as a vital platform for discovering and nurturing new cinematic perspectives from the outset.

Evolution

Following its founding in , Critics' Week expanded its programming in the to embrace a wider array of international films, broadening its scope beyond initial French-centric selections and fostering greater global representation in emerging cinema. This period also saw the formalization of competitions, which became a dedicated component to spotlight innovative works from new filmmakers worldwide, enhancing the section's role as a launchpad for diverse talents. The 1968 cancellation of the main due to nationwide protests also affected Critics' Week, with some selected films unable to be screened due to the disruption, underscoring its commitment to independent voices amid political turmoil. In 1994, a key milestone arrived with the awarding of the Grand Prize to Regarde les hommes tomber () by , elevating the section's prestige and providing financial support for winners. By the 1980s, Critics' Week refined its mission with a deliberate shift toward exclusively first- and second-time directors, emphasizing debut and sophomore features to nurture underrepresented creators and distinguish itself from the main competition's established names. This focus solidified its identity as a talent incubator, launching careers like those of with As Tears Go By (1988). In recent years, post-2020 adaptations introduced digital programming enhancements, including virtual labels and online support for selected projects during the disruptions, ensuring continuity and accessibility for global submissions. The 2025 edition further amplified this evolution by prioritizing diverse global voices, with its lineup featuring debuts from directors across , , , and beyond—such as Laura Wandel's Adam's Interest opening the section and Malaysia's historic short Bleat!—to champion underrepresented narratives in contemporary filmmaking.

Description

Program Format

Critics' Week, known in French as La Semaine de la Critique, is an annual sidebar event held parallel to the , typically spanning nine days from mid-May, such as May 14 to 22 in 2025. It showcases a curated selection of seven feature films and ten short and medium-length films in competition, all presented as world or international premieres with no prior festival screenings outside of markets and no commercial releases. The program's structure emphasizes discovery of emerging talent, restricting entries to directors' first or second feature films and short films (with no restrictions on prior short films by the director), ensuring no overlaps with the official Cannes competition, , , or other sections. In addition to competitive screenings, the event includes special screenings outside the competition, such as works-in-progress or tributes, along with industry panels and networking opportunities tailored for young filmmakers through initiatives like the Next Step program, which supports transitions from shorts to features via workshops and funding. This contemporary format has evolved from the section's founding in 1962 by the French Union of Film Critics, initially focused on critical discovery, to a more structured platform prioritizing debuts and without commercial premieres, distinguishing it from the main festival's broader scope.

Selection Process

The selection process for La Semaine de la Critique, known in English as Critics' Week, is overseen by the Syndicat Français de la Critique de Cinéma (SRFC), the French Union of Film Critics, with the aim of spotlighting emerging cinematic voices through a rigorous review of submissions. Films must adhere to strict eligibility rules to ensure focus on new talent: feature films are limited to directors' first or second works (fewer than three prior features), must exceed 59 minutes in length, and qualify as world premieres completed between May of the prior year and the festival dates. Short films, eligible without limits on the director's prior short-form output, are capped at under 60 minutes and similarly require world premiere status with no prior public screenings beyond industry markets. All eligible films must not have been distributed commercially, broadcast on television, or released online prior to the event. Submissions occur via an open call on the official Semaine de la Critique website, where filmmakers register online, pay a required entry fee (typically €30 for shorts and €50 for features), and provide screening materials through secure upload links or downloadable files. Deadlines are set in early to mid-March each year—for instance, March 14 for shorts and March 21 for features in the 2025 edition—with the process emphasizing accessibility for international applicants while requiring materials in formats suitable for committee review, such as multiplexed files with English subtitles for non-French works. Selections are made by two dedicated programming committees—one for feature films and one for shorts—each comprising critics and journalists from the SRFC, supervised by the and relevant coordinators. The feature typically includes about seven members, including the , who collectively evaluate submissions over several months from late winter to spring. While specific evaluation rubrics are not publicly detailed, the process prioritizes s demonstrating originality, innovative storytelling, and diverse cultural perspectives, excluding any titles already selected for ' official competition or sections to maintain the sidebar's distinct identity. Key stakeholders include the SRFC, (Ava Cahen since 2022), and department heads like Rémi Bigot for features, ensuring the curated lineup of 7-10 features and 7 shorts reflects a commitment to global emerging cinema.

Awards

Feature Film Awards

The awards at Critics' Week recognize outstanding achievements among the seven competing first or second s by emerging directors, emphasizing discovery and innovation within the sidebar section of the . These prizes are decided by a dedicated composed of filmmakers, critics, and industry professionals, with selections guided by criteria such as originality, creative boldness, and the film's potential for broader cultural impact. The premier accolade is the Grand Prize (Prix de la Semaine de la Critique), the top honor bestowed on the best in competition, which has been awarded annually since 1994 to highlight exceptional directorial vision. Currently sponsored as the Grand Prize AMI (inaugural in 2025, awarded to A Useful Ghost directed by Ratchapoom Boonbunchachoke), it provides cash and distribution support to the winning director, complemented by partnerships like the GAN Foundation, which provides an additional €20,000 to a French distributor for first or second features to aid theatrical release. Other key awards include the French Touch of the Jury, which honors a feature for its and audacious approach to cinema, offering €8,000 to the director; the SACD (Société des Auteurs et Compositeurs Dramatiques), awarded for the most promising work with a strong original , providing €4,000; and the Louis Roederer Foundation Rising Star Award, worth €5,000, which spotlights a standout or for a debut or remarkable performance in a . These , often targeting debut or efforts, underscore Critics' Week's mission to nurture new talent. Audience awards, such as partner-sponsored recognitions voted by attendees, occasionally complement the jury selections to reflect public reception. The Louis Delluc Critics' Prize, while a separate national award presented annually by French critics for the year's best first feature, has historical ties to Critics' Week through its organizer, the French Union of Film Critics, and frequently honors films that premiered in the section for their innovative storytelling and impact. Over time, the feature film awards have evolved to enhance global reach, with the jury incorporating international members starting in the early 2000s to bring diverse perspectives on narrative strength and innovation; for instance, recent juries have included filmmakers and critics from Spain, Morocco, Indonesia, and the UK. This shift has broadened the awards' criteria to better assess cross-cultural potential while maintaining focus on emerging voices.

Short Film Awards

The short film awards at Critics' Week recognize emerging filmmakers through a dedicated competition that highlights innovative and concise storytelling in works under 59 minutes. The primary accolade is the Leitz Cine Discovery Prize for , awarded annually since 2003 to the most outstanding short or medium-length film among the 13 selected entries, accompanied by a €4,000 cash prize to support the winner's career development. This prize underscores the section's commitment to discovering bold, original voices, with past recipients including works by Juliana Rojas and João Gonzalez that later gained international acclaim. Complementing the top prize, the Canal+ Award for Short Film, established in 1992, honors an emerging director's work by securing television screening rights through Canal+, providing crucial exposure and funding opportunities. The jury may also bestow a Special Mention on exceptional shorts that demonstrate particular promise, as seen in selections recognizing unique narrative approaches or technical creativity. These awards parallel the feature film prizes but focus exclusively on short-form cinema to nurture talent at an early stage. Judging occurs via a jury of international critics and filmmakers that evaluates both feature and short films, with emphasis on short films' unique attributes such as technical , concise yet impactful delivery of stories, and diversity in perspectives, ensuring selections reflect global underrepresented voices and experimental styles. The , presided over by figures like in 2025, evaluates entries for their potential to launch careers, often favoring films that blend personal vision with broader cultural resonance. The shorts competition traces its roots to 1962, when short films were first integrated into Critics' Week's programming to spotlight nascent talent alongside features. It was formalized as a standalone competitive section in 1988, allowing for dedicated awards and deeper focus on the medium. By 2025, the competition attracted over 2,300 submissions worldwide, from which 13 films were selected, demonstrating its growing prestige as a launchpad for innovative short cinema.

Impact

Notable Alumni

Critics' Week has launched the careers of numerous filmmakers whose works have garnered international acclaim and major awards recognition. Among the section's Grand Prize winners, ' Take Shelter (2011) marked a breakthrough for the American director, earning the top honor and propelling him to subsequent successes including Mud (2012) and Loving (2016), the latter receiving an Academy Award nomination for for . More recently, Ratchapoom Boonbunchachoke's debut feature A Useful Ghost (2025) claimed the Grand Prize, highlighting the section's continued role in spotlighting innovative voices from emerging cinemas like . Beyond Grand Prize recipients, alumni have achieved remarkable trajectories. Andrea Arnold's short premiered in Critics' Week in 1998, paving the way for her Oscar-winning short Wasp (2005) and a series of acclaimed features such as (2006), Fish Tank (2009), and (2016), each securing Jury Prizes at . Likewise, Julia Ducournau's short Junior screened in the section in 2011, leading to her features Raw (2016) and the Palme d'Or-winning (2021), establishing her as a bold force in and genre cinema. These examples illustrate how Critics' Week serves as a vital incubator, underscoring the section's enduring impact on global filmmaking. Case studies of alumni careers reveal the section's launchpad effect. For , the 1998 screening of not only introduced her raw, intimate style but also facilitated her transition to features, culminating in three consecutive Cannes Jury Prizes and an Oscar nomination for in 2017. ' victory in 2011 provided critical momentum, enabling collaborations with stars like and , and positioning him as a key indie director with films exploring American anxieties. Julia Ducournau's path from the 2011 short Junior to 's 2021 demonstrates how Critics' Week exposure can accelerate recognition, with her works challenging conventions and earning alongside Cannes honors.

Cultural Significance

Critics' Week has played a pivotal role in amplifying underrepresented voices in global cinema, particularly since the 2010s, by prioritizing films from women, LGBTQ+, and non-Western directors in its selections. For instance, the 2025 program highlighted themes of feminine experiences, queer identities, and international perspectives, with feature films co-produced across Europe, Asia, and North America, reflecting a commitment to diverse storytelling. Over its history, the section has showcased works from nearly 50 nationalities, fostering inclusivity for emerging talents like Colombian director César Augusto Acevedo and French filmmaker Julia Ducournau, whose contributions underscore its emphasis on marginalized narratives. As a launchpad for independent cinema, Critics' Week significantly influences the film industry by providing exposure and practical support for debut and second features. It collaborates with the Cannes through shared screenings and access for industry professionals, facilitating distribution opportunities via awards like the Gan Foundation Prize for Distribution. This integration helps indie films secure international deals, bridging creative discovery with market realities and enabling broader global reach for non-mainstream projects. Despite its achievements, Critics' Week has faced occasional debates regarding perceived French-centric programming within Cannes' parallel sections, prompting responses through enhanced internationalization in the 2020s. Initiatives like the Next Step workshop, which brings international tutors and composers to mentor short filmmakers transitioning to features, exemplify these efforts to broaden perspectives and counterbalance . Additionally, partnerships such as the 2026 Next Step Studio in promote regional talents from underrepresented areas. The section's legacy is evident in its metrics of impact, with over 700 films selected since 1962 and alumni securing 10 awards at , alongside numerous victories at global festivals that highlight its role in nurturing influential careers. Notable alumni, such as and , exemplify this enduring contribution to cinema's evolution.

References

  1. https://www.semainedelacritique.com/en/la-semaine-de-la-critique-and-its-missions
  2. https://www.festival-cannes.com/en/the-festival/the-history-of-the-festival/
  3. https://www.semainedelacritique.com/en/la-semaine-de-la-critique-s-prizes
  4. https://www.semainedelacritique.com/en/prizes-and-awards-winners
  5. https://www.semainedelacritique.com/en/next-step-presentation
  6. https://www.semainedelacritique.com/en/edition/1962/film-selection
  7. https://archives.semainedelacritique.com/EN/historique.php
  8. https://www.festival-cannes.com/en/2018/50-years-ago-the-revolt-of-may-68-sweeps-the-festival-de-cannes/
  9. https://www.semainedelacritique.com/en/directors/jacques--audiard
  10. https://www.hollywoodreporter.com/movies/movie-news/cannes-critics-week-2024-lineup-1235865680/
  11. https://deadline.com/2020/04/cannes-directors-fortnight-critics-week-acid-programs-cancelled-in-situ-for-2020-1202908841/
  12. https://deadline.com/2025/04/cannes-critics-week-2025-selection-with-full-list-1236367514/
  13. https://variety.com/2025/film/news/malaysian-short-bleat-cannes-critics-week-1236371457/
  14. https://www.semainedelacritique.com/en/regulations
  15. https://culture360.asef.org/opportunities/semaine-de-la-critique-submissions-open-2nd-dec/
  16. https://www.semainedelacritique.com/en/next-step-2025
  17. https://www.hollywoodreporter.com/movies/movie-news/cannes-critics-week-2025-lineup-sean-baker-1236190023/
  18. https://www.syndicatdelacritique.com/semaine-de-la-critique
  19. https://asianfilmfestivals.com/2024/12/19/semaine-de-la-critique-call-for-entry-2025/
  20. https://www.semainedelacritique.com/en/2025-feature-films-submission-requirements
  21. https://www.semainedelacritique.com/en/news/2025-selection-committees
  22. https://archives.semainedelacritique.com/EN/FAQ.php
  23. https://www.semainedelacritique.com/en/la-semaine-de-la-critique-prizes-2025
  24. https://www.screendaily.com/news/cannes-critics-week-unveils-prizes-for-2025-edition/5205389.article
  25. https://en.unifrance.org/festivals-and-markets/997/louis-delluc-prize
  26. https://www.semainedelacritique.com/en/edition/2025/jury
  27. https://www.kinoafisha.info/en/awards/cannes/nominations/critics-week---special-mention/critics-week---special-mention/
  28. https://variety.com/2011/film/markets-festivals/take-shelter-wins-critics-week-1118037340/
  29. https://www.semainedelacritique.com/en/directors/andrea--arnold
  30. https://www.semainedelacritique.com/en/news/the-alumni-2025
  31. https://www.franceinfo.fr/culture/cinema/festival-de-cannes/festival-de-cannes-2025-condition-feminine-queer-et-amitie-au-menu-de-la-64e-semaine-de-la-critique_7189209.html
  32. https://www.semainedelacritique.com/en/practical-guide-2025
  33. https://www.marchedufilm.com/programs/impact/
  34. https://www.semainedelacritique.com/en/news/in-2026-cannes-semaine-de-la-critique-welcomes-next-step-studio-indonesia-in-partnership-with-kaw
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