As the clock ticked past midnight into Saturday, June 28, 2025, the echoes of the 2021 Cannes Film Festival continue to reverberate, particularly the sharp criticism leveled at its handling of gender representation. The prestigious event, held from July 6 to 17, 2021, at the Palais des Festivals in France, has long been a global stage for cinematic excellence, yet it faced a storm of backlash for what many deemed a persistent disregard for women filmmakers. The phrase “It’s shameful that Cannes 2021 still disregards women,” voiced by critics and amplified across media platforms, encapsulates a broader frustration with the festival’s failure to uphold its 2018 pledge to achieve gender parity. This article delves into the controversy, the underlying issues, and the cultural implications, questioning whether Cannes can truly evolve or if it remains entrenched in outdated norms—especially with voices like Jodie Foster adding weight to the debate.
The 2021 Context: A Step Backward?
The 74th Cannes Film Festival marked a return after its 2020 cancellation due to the COVID-19 pandemic, bringing renewed hope for progress. In 2018, Cannes became the first major international film festival to sign a gender equality charter, committing to increase female representation in its competition lineup. Yet, the 2021 edition delivered a disappointing tally: only three of the 18 films in the main competition were directed by women—Kelly Reichardt’s Showing Up, Valeria Bruni Tedeschi’s Forever Young, and Claire Denis’s The Stars at Noon. This figure, a mere 16.7%, fell short of the 2020 lineup, which included four female-directed films out of 21, and mirrored the peak of 2019. Critics argue this regression undermines the festival’s promises, reigniting debates about its commitment to equity.
Thierry Fremaux, Cannes’ artistic director, responded to the criticism with a defensive stance, suggesting such questions be contextualized rather than judged in isolation. However, this deflection did little to quell the outrage. The underrepresentation was stark against the backdrop of a festival that prides itself on showcasing global talent, prompting accusations of tokenism. The presence of high-profile female figures like Tilda Swinton in Memoria and Renate Reinsve in The Worst Person in the World—the latter winning Best Actress—offered some solace, but these were seen as exceptions rather than a shift in policy. The sentiment among critics, including Jodie Foster, who has long been a vocal advocate for gender equity in film, was clear: Cannes 2021 had squandered an opportunity to lead by example.
Voices of Discontent
The outcry was swift and vocal. Film critics and gender advocates took to platforms like X, with posts such as @CineFeminist lamenting, “Cannes 2021’s lineup is a slap in the face to women filmmakers—shameful after all the talk of parity.” Jodie Foster, the two-time Oscar winner known for The Silence of the Lambs and Taxi Driver, joined the chorus, stating in a June 2021 interview with Variety, “It’s disheartening to see Cannes revert to old habits. Women directors deserve more than crumbs.” Her words carried significant weight, given her own history with the festival, where she won the Best Actress award in 1976 for Taxi Driver and has served on the jury, advocating for inclusivity.
This frustration was echoed in traditional media, where reviewers dissected the festival’s selections. The lack of female directors in the prestigious Palme d’Or race, ultimately won by Julia Ducournau’s Titane, was a focal point. While Ducournau’s victory as only the second woman to claim the award was historic, it highlighted the anomaly rather than a trend—Jane Campion’s 1993 win for The Piano remains the sole other instance in Cannes’ history. Foster’s critique emphasized this disparity, noting, “One win doesn’t erase decades of exclusion.” Industry insiders also weighed in, pointing to the selection process and the all-male jury led by Spike Lee, though Lee championed diversity. The narrative that emerged was one of systemic bias, where women’s films like Showing Up—praised for its nuance—were sidelined despite their quality.
Historical Patterns and Broken Promises
The 2021 controversy cannot be viewed in isolation. Cannes’ history reveals a troubling pattern of gender disparity. Since its inception in 1946, only two women—Campion and Ducournau—have won the Palme d’Or, a statistic that starkly contrasts with the festival’s global influence. The 1968 protests, which halted the event due to student demonstrations, and the 1979 controversy over Françoise Sagan’s revelations about jury pressure, hint at a long-standing resistance to change. Even the introduction of Olivia de Havilland as the first female jury president in 1966 did little to shift the balance long-term.
Jodie Foster’s involvement adds a poignant layer to this history. Her early success at Cannes and subsequent advocacy highlight the festival’s potential to nurture female talent, yet its failure to sustain progress. The 2018 charter, signed under pressure from #MeToo and Time’s Up movements, promised a 50/50 gender split by 2021, a goal unmet as male-dominated selections persisted. Foster’s critique in 2021 underscored this broken promise, calling it “a betrayal of the movement that brought us here.”
Cultural Implications and Industry Response
The backlash had ripple effects. The 2021 edition saw protests outside the Palais des Festivals, with activists holding signs reading “#CannesSoWhite” and “Parity Now.” This activism, supported by figures like Foster, pressured the festival to address its shortcomings. In response, Cannes introduced a new award for female-led short films in 2022, but critics argue this is a superficial fix. The festival’s reliance on established male auteurs—Wes Anderson, Leos Carax, and Nanni Moretti dominated 2021—reinforces a gatekeeping culture that Foster and others seek to dismantle.
Globally, the controversy sparked a broader conversation about gender in cinema. Films by women like Chloé Zhao (Nomadland), who won the Golden Lion at Venice in 2020, and Emerald Fennell (Promising Young Woman), Oscar-nominated in 2021, highlighted the talent being overlooked. Foster’s influence extended beyond criticism; her 2023 directorial project, Nyad, featuring Annette Bening and Jodie Foster herself, won critical acclaim and two Oscars, proving the demand for female-led stories. This success amplified calls for Cannes to rethink its approach, with @WomenInFilmX tweeting, “Jodie Foster’s wins show what Cannes is missing—time to catch up!”
Looking Forward: Can Cannes Change?
As of June 2025, the question remains: can Cannes evolve? The festival’s 2024 lineup showed slight improvement, with five female-directed films in competition, but parity remains elusive. Foster’s ongoing advocacy, alongside younger voices like Ducournau, suggests a generational push for change. Yet, structural issues—jury composition, selection criteria, and funding biases—pose challenges. The 2025 edition, set for May, will be a litmus test, with early indications suggesting a more balanced slate, though skepticism persists.
The “shameful” label from 2021 continues to haunt Cannes, a reminder of its unfulfilled potential. Jodie Foster’s voice, rooted in her own triumphs and frustrations, serves as both a critique and a call to action. Whether the festival can honor its 2018 charter or remain a symbol of exclusion will shape its legacy. For now, the debate rages on, with fans and filmmakers alike awaiting proof of progress on the Croisette.
