By Lona Fontaine
Writer | Director
The Cannes Film Festival is such a mix of realities, all happening at once. At times, you feel as though you’re living in a Slim Aarons photograph; at others, you’re in your first day of high school, in some awkward teen drama directed by Todd Solondz. It’s a whirlwind. I’m sure no two people’s Cannes experiences are the same. This was only my second time at Cannes, and it felt so different from the time before.

Most obviously because no time this year was spent in a police station! That’s a win! The time before this, I had a Me Too incident and spent the better part of a weekend in the police station after a festival chauffeur drove me out of the festival and tried to SA me. The festival staff were really, really helpful and ensured I had a translator, helping me go to the police. As I had managed to defend myself, he was only charged with “tentative assault,” as the French call it. I’m not sure assault can ever be “tentative,” but hey?
The incident almost put me off going again. With the pandemic happening afterward, I can’t say if I’d have gone sooner or not, but by last year, I was ready to try again—determined not to be shut out of opportunities because of some bad men! I’ve always been motivated to do things in spite of it all. “Boot the grime of the world in the crotch, dear,” as The Smiths said. Then I was so happy to discover Yes She Cannes. I’d followed them for a while, attended a workshop, and found out about the community they hosted at the festival.

Being part of a female community there is such a good idea. Along with the safety aspect—Ubering, getting the bus together, etc., having women around you to help if needed—it was also just great in terms of network building, which is so essential at Cannes. Having a community of women there and the extra events YSC hosted was such a joy to be part of.
Being in the SheSquad really helped continue that networking into the less exciting, festival-less days of the year. I found the actresses I needed to play customers in my short film, Parlour, through there—casting extras is bloody hard. But here, everyone I needed volunteered in an evening’s time. There’s a good sense here of everyone trying to help each other out. I found advice and people to hang out with at more local film events. It’s kind of like taking the best elements of Cannes home with you—well, minus the free champagne.

There are so many unforgettable events at the Festival. For me, it’s the polarity of it all. The micro-moments that sum up the contrasts and are microcosms of the different worlds that collide at Cannes.
There was a moment where a lady pushed in front of me in the queue for the restrooms—a proper shoulder barge and arrogant glare back deal. A man joined behind me and introduced himself, inviting me to the party he was going to next. Her ears immediately perked up, and she turned and asked him to take her. He said, “No thanks, I’ll take the girl you just rudely pushed in front of.” Ha! Her face! It’s just a moment that really encapsulates the different attitudes there. Cannes is made up of all sorts and they balance each other out.
Another moment was when an influencer I actually recognised barged to the front of the line trying to get into the Oh, Canada (Paul Schrader) party. I had secondhand embarrassment as the people behind her—some of whom probably worked on the film—laughed while she argued with security. I ended up only staying at that party for about half an hour because, to be frank, it was pretty boring, and I had a meeting the next morning that it wasn’t worth being tired for. She was still trying to blag her way in as I left.

I went back to the YSC villa and ended up staying up late talking to girls. That was so much more fun and meaningful than the party. Connections were made with people I could actually collaborate with. It’s snippets like this that summarise some aspects and misconceptions of Cannes.
People put immense pressure on themselves to make Cannes count. They also set really unrealistic expectations, thinking if they just get into the right room or rub shoulders with the right person at a party, they’ll get their big break. It leads to a lot of desperate behaviour and people being really hard on themselves. That isn’t what the festival should be about. The best moments are the genuine ones you find with people. That’s what’s actually going to help build your network and career—not saying hi to Richard Gere, who really isn’t going to remember you after five seconds.

With all the adrenaline of the festival, my favourite moment was probably when I gave myself a couple of hours to just chill in the pool with my coffin pool float! That’s probably the most antisocial answer I could give!
Lona Fontaine attended the Festival in 2024, as part of the She Squad, a community run by Yes She Cannes, supporting women at Festival de Cannes. She also stayed with 10 other inspiring women at the Yes She Cannes Villa, a female-centered space dedicated to providing support, guidance, and empowerment.
Lona is a Writer/Director based in London with a penchant for crafting unique and thought-provoking stories. Her work delves into themes of identity, magical realism, and tragic fate, reflecting her passion for exploring the strange and unexpected.
Her latest short film, The Woman Who Waited to the End of the World (2024), is currently in post-production and gearing up for its festival debut in early 2025. Starring the brilliant talents of Ash Felkner and Crystal Marshall, the film tells the surreal story of Sadie, a lonely dog thief ensnared by self-loathing who has an unexpected encounter with the dog's owner. Set in the final days before the sun disappears, the narrative unfolds as a poignant exploration of the need for self-acceptance.
Lona is now developing her next project, Parlour, a psychological drama set in a deadly beauty parlour in the 1920s—a chilling tale of intrigue and suspense.
For more information, visit her IMDB or follow her on Instagram: @lona_del_lonely

Comments