Report: American Pavilion – Cannes Film Festival 2025
- Dirk Vandereyken
- Jun 23, 2025
- 7 min read
There is a reason why the American Pavilion is the only pavilion at the Cannes Film Festival that charges extra money to enter, even if you are already accredited by the festival itself. Indeed, the usual film or market badge won’t do you any good getting in, except at a few selected events – and, maybe, rightfully so. More than in any other year, 2025 underlined the evolution AmPav has gone through since its initial founding in 1989, as the pavilion has gone from reacting to industry shifts to helping define them.
Not charging an entry fee would mean being inundated with visitors, especially since this is where you can find most American and affiliated heavy-hitters of the film industry willing to share their insights and knowledge through panels, Q&As, summits, and more informal meetings. We were there for the duration of the festival, and this is what we found.
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Returning to Cannes with what may very well have been its most ambitious programmes to date, the Pavilion in 2025 proved yet again that it has something unique to offer. Although there are many great receptions and events to be enjoyed at the other amazing pavilions, each dedicated to a different filmmaking country or region, none focus as much on getting students to the film festival to learn more about the industry they would like to work in as AmPav, and none provide as significant a potential career launchpad.
Roughly equal parts think tank, lunchroom, networking engine, gathering space, event location, and movie business gateway, there is something here to be found for almost everyone with an interest in the wonderful yet difficult-to-navigate world of cinema.
A Pavilion in Constant Motion
Learning how to navigate AmPav has a lot to do with timing. Celebrities tend to attract long lines of interested visitors and, while its iconic buffets are second to none at the Cannes Film Festival – especially since the Indian FICCI seems to have stopped hosting lunches for three days straight – access can require some patience.
Sure, during off-event times, food and drinks need to be paid for, but even that doesn’t really deter both interns and industry professionals from visiting a place which is, essentially, in constant motion, with a large terrace that is often quite packed, impromptu meetings held everywhere, and a steady, solid rhythm of panels, networking events, and social gatherings.
However, just like so many other things at Cannes, AmPav’s schedule is far from constraining, as even hosted debates rarely end when the moderator probably intends them to. Discussions tend to spill onto the terrace, and chance encounters unexpectedly develop into real-world collaborations. In a very real, palpable sense, AmPav feels less like a traditional venue and more like an entirely organic extension of the festival itself – something we have also observed at the Fantastic Pavilion over the last couple of years.
Programming Highlights
As expected, the 2025 programming wasn’t particularly partisan or confrontational, at least not in the way most subjects were tackled. The Future of Filmmaking Summit, headlined by Richard Linklater (Before trilogy, Boyhood), in particular, was able to benefit from a great atmosphere despite tackling some potentially confrontational issues, such as how to embrace technological innovation without losing the human and emotional core of storytelling.
AI was a hot topic here, as it was across multiple other panels, where it was mostly mentioned as a valuable tool capable of reshaping workflows, financing structures, and even authorship itself, instead of being coined as a threat. If an alarmist note was struck, we weren’t present or we weren’t listening, as the approach focused more on pragmatism and utilitarianism than anything else.
During the In Conversation series, Luxembourgish actress Vicky Krieps (Phantom Thread, The Dead Don’t Hurt) came in to speak quite candidly about something she has become known for: navigating international productions while still maintaining the same kind of artistic integrity usually expected from arthouse and independent cinema.
As could be foreseen, neither Academy Award-winning writer/director/producer Spike Lee (Do the Right Thing, Malcolm X), there to promote Highest 2 Lowest and present lead actor Denzel Washington with a Palme d’Or d’Honneur, nor actor/director/screenwriter Michael Angelo Covino (The Climb, Libre Échange) entirely spared their fair share of criticism vis-à-vis the film industry, but both still managed to share an uplifting message focused on great storytelling and creative independence.
Additional conversations further expanded the scope of the programme. Nic Novicki, Founder of @eastersealshq Disability Film Challenge, and Nancy Weintraub, Chief Advancement Officer of @eastersealssocal, sat down to chat all things disability inclusion in entertainment, offering practical insights and a candid look at ongoing industry challenges. LaKeith Stanfield also arrived at the American Pavilion for a panel during the Cannes Film Festival, drawing significant attention. Helpful tips were shared during the fireside chat with Lloyd Lee Choi and Nina Yang Bongiovi, presented by @goldhouseco, adding further perspective on creative pathways and representation.
‘It’s a lot of hats to wear!’ Eva Victor remarked while discussing writing, directing, and starring in Sorry, Baby, premiered as the Closing Night selection of Cannes’ Quinzaine des Cinéastes. In a similarly reflective tone, Kevin Smith opened up about Dogma, creative persistence, and the indie filmmaker’s journey during his talk at the American Pavilion, noting: ‘Just because the industry has no use for me doesn’t mean I don’t get to play.’
While that other US-centered checkpoint, the FilmUSA Pavilion, introduced Georgia Day and leaned heavily into its Dallas Film Commission connection, AmPav was able to tackle and correct some of the common misconceptions about its most populous state during California Day, addressing hot topics like production costs and its continued relevance in an industry that has become entirely globalised in almost all of its aspects.
The Emerging Filmmaker Showcase
Maybe one of its most significant initiatives, the American Pavilion has been proving its commitment to supporting upcoming talent throughout the years. This 28th edition of the Emerging Filmmaker Showcase featured a selection of 25 films across quite a few different genres, including narrative shorts, documentaries, student films, and LGBTQ+ storytelling.
The main appeal to the upstart filmmakers involved lies not just in the screenings, but also in the direct access to feedback, networking opportunities, and professional exposure. Being able to dive straight into a talk about your possible future as, for example, a director or cinematographer after a screening can be extremely valuable, and it’s no wonder so many people attend AmPav, given the amount of energy and excitement we see on display in the pavilion on a daily basis. Being supported by industry leaders like actor/author/producer Rainn Wilson (whose reach as a public speaker and humanitarian extends far beyond his iconic turn as Dwight in The Office) and director/screenwriter/producer Jason Reitman (Juno, Up in the Air) is significant, too.
Here are the winners of this year’s showcase:
Award Winners – Emerging Filmmaker Showcase 2025
• Best Short Film – Get Away (Michael Gabriele)
A tightly constructed narrative short praised for its emotional precision and storytelling clarity.
• Best Documentary – She Is Us: The Story of Judge Songhai Armstead
A character-driven documentary focusing on leadership, justice, and community impact.
• Best Student Short – Before the Winter (Juan Zuloaga Eslait)
A reflective and atmospheric film exploring emotional distance and transition.
• Best Student Documentary (tie) – Handwoven & Dancing in Tomorrowland
Two distinct works: one focused on craftsmanship and human connection, the other blending stylised storytelling with themes of identity and activism.
• Cultural Impact Award – Happy New Year, Ms. Luna (Andy ‘Celeste’ Diep)
A culturally resonant narrative exploring identity and belonging.
• LGBTQ+ Award – Happy New Year, Ms. Luna
A second recognition highlighting the film’s thematic depth and emotional resonance.
Networking & Social Events
Ask just about any accredited visitor to the Cannes Film Festival and you’ll find out that they are most probably mainly present because of the networking (and sales) opportunities the festival provides. Some meetups are heavily structured, but spontaneous terrace conversations are also a daily occurrence.
The mix of emerging filmmakers, movie veterans, press, students, and interns again turns out to be particularly conducive to the omnipresent electricity we always feel when entering AmPav, as the hierarchy we often experience in many other pavilions isn’t as obvious here. In a sense, it almost feels flattened, despite the membership fee.
During the festival, we don’t miss any of the receptions, as not only is food plentiful (and tasty); the band that already caught our attention last year is present again, and we love listening to the new arrangements of well-known songs, each of the covers still being instantly recognisable. Queer Night is packed again, and we do struggle to find enough room to dance from time to time, but the atmosphere is up to par with previous editions, and we do find ourselves staying for quite a few hours before leaving again.
Sponsors
Each year, AmPav manages to attract quite a few sponsors and, to its credit, it actively promotes them both on-site and on its social media, which becomes most apparent in the small details that shape the overall experience. Between panels and conversations, we notice Calyan Wax Co. candles placed around the pavilion, while @biodance_global products circulate among attendees preparing for long days under the Cannes sun. Bowls of @anisdeflavigny sweets quietly make their rounds, and @dulsee_cosmetiques adds a subtle sensory layer with its fragrant balms.
Elsewhere, practical comforts and small indulgences find their place just as naturally. Bombas essentials appear here and there, @labiscuitery cookies and Fetcha Chocolates’ Cannes Collection surface during breaks, and @unitefood bars or @localstylechips often end up being the quickest solution between two events.
Even elements like the visual presence of @wallism_com designs or the steady availability of @sourcedelasasse spring water blend into the rhythm of the pavilion without drawing overt attention to themselves. @pixibeauty products are part of the background routine for many guests, while Weihenstephaner beers make a familiar appearance during more relaxed moments. And, of course, the coffee bar by @annecaronlecafe remains a constant, with its caramel frappuccino quietly becoming a recurring stop throughout the day.
The lowdown
In the end, several themes seem to resonate across panels, screenings, and informal exchanges: the tension between technology and authorship; the importance of direct audience engagement; the expansion of global production and filmmaking networks; and how much inclusion has become ingrained in the very structure of moviemaking itself.
All realities shaping how films are made today. Throughout the evolution we have experienced over the decades, AmPav has more and more shown itself to be able to be at its centre, a nexus for brave souls who mostly seem to be driven by passion rather than a singular pursuit of fame and money. Here’s to next year’s edition!
Text: Dirk Vandereyken, Wa-In, Paula van Unen
Photos: Marian Michiels, American Pavilion
More info: www.ampav.com
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