第66届戛纳国际电影节于2013年5月15日在法国坎城开幕，2013年5月26日闭幕。美国导演史蒂文·斯皮尔伯格被任命为评委会主席。
2013年共有1858部电影报名戛纳，近80部入围影片将在两周内展映，其中包括中国导演贾璋柯的《天注定》、中国香港导演杜琪峰的《盲探》和中国香港导演刘韵文的《过界》。
本届戛纳电影节金棕榈奖获得者为阿布戴·柯西胥导演的《阿黛尔的生活》，评审团大奖为科恩兄弟的《醉乡民谣》。

芬兰名导郭利斯马基这次不执导演筒，改拿装修工具打造梦想之地，要把小镇上的一座废弃工厂，打造此地有史以来首座电影院，外冷内热的北国小镇就此上演最冷静的热血梦想剧。新锐导演维可韦达克首部纪录长片《小镇有间电影院》，将这段看似逐梦旅程的纪实观察，巧妙融入其招牌的冷调幽默及对劳动阶层的一贯关注，加上多年好友贾木许的惊喜现身，让戏里戏外虚实互补，连成一气，更见证了生活如何孕育电影。

2016年5月11日-5月22日在法国戛纳举行，该届戛纳电影节闭幕式22日晚在电影宫卢米埃尔厅举行，2016年5月23日凌晨，为期12天的第69届戛纳国际电影节正式落下帷幕。

The unique film set within a Karaja village in Brazil's Mato Grosso, Jim Jarmusch listens while Sam Fuller describes the 1950's "Tigrero" movie that he was unable to make. It also profiles the Karaja people. The non-film "Tigrero" had a fascinating history. The name was purchased off a novel by 20th Century Fox by Darryl F. Zanuck. Screen writer Fuller was sent to Brazil to come up with the story. There between two jungle rivers, he meets the Karajas who allow him to film their ceremonies and their village. Upon returning, he wrote a blockbuster film which would have starred John Wayne, Tyrone Power, and Ava Gardner. Because it was to be filmed in the dangerous jungle, Fox nixed the project. A lot of this movie focuses on Jarmusch interacting with the natives. The two also discuss Fuller's career and religion. ~ Sandra Brennan, All Movie Guide

For over 70 years, Jonas Mekas, internationally known as the "godfather" of avant-garde cinema, documented his life in what came to be known as his diary films. From his arrival in New York City as a displaced person in 1949 to his death in 2019, he chronicled the trauma and loss of exile while pioneering institutions to support the growth of independent film in the United States. Fragments of Paradise is an intimate look at his life and work constructed from thousands of hours of his own video and film diaries-including never-before-seen tapes and unpublished audio recordings. It is a story about finding beauty amidst profound loss, and a man who tried to make sense of it all... with a camera.

A documentary on the Z Channel, one of the first pay cable stations in the US, and its programming chief, Jerry Harvey. Debuting in 1974, the LA-based channel's eclectic slate of movies became a prime example of the untapped power of cable television.

Gregory Crewdson interviews artists across multiple mediums about life and art.

The legendary Screamin’ Jay Hawkins was a great influence on many musicians and his performances were so highly provocative in their originality that even today they can be considered “revolutionary”.
Screamin’ Jay Hawkins met Nicholas Triandafyllidis and commissioned him to make a documentary about his notorious life in and out of the music industry. Screaming Jay came to Greece and he gave his very last concerts in Thessaloniki and Athens, before his sudden death in Paris in 2000.
Having been left a legacy of confidential sessions and footage of his final live performances, Triandafyllidis completed the film with a little help from Jay’s friends: Jim Jarmusch (director of Ghost Dog), Bo Diddley, Eric Burdon (The Animals), Rudi Protrudi, Diamanda Galas, Arthur Brown (The Crazy Word of Arthur Brown), Andre Williams and others.
He remained faithful to their common vision:
“A film full of positive energy, an endless source of life”.

From the 1950s onwards, Erika and Ulrich Gregor brought countless film historical milestones to Berlin and shaped cinema discourse in post-war Germany. A look at the life and work of the couple without whom Arsenal and the Forum wouldn’t exist.

Director Howard Brookner died of AIDS in NYC in 1989 while in post-production on his breakthrough Hollywood movie. His body of work has been buried for 30 years in William Burroughs' bunker until his nephew Aaron unearths his uncle's story and the memory of everything he was.

In 1957 during his self-imposed exile from the United States, Chaplin released a film that proved to be his final starring role, A King in New York. This film examines Chaplin's life in exile that help fuel the personal and political themes of his penultimate feature film, including interviews with his son, Michael, who played a central role in its story.

DoP Robby Müller has inspired generations with his ground-breaking camerawork. Director Claire Pijman had access to his personal archive to create an extraordinary film essay that intertwines archival material with excerpts of his oeuvre.

从一九八九年便在福斯电视台播出迄今的热门卡通“辛普森一家"续约是美国电视史上最长寿的喜剧剧集。从一九八九年以来，“辛普森一家"总共拿下85座各类大奖，89项各类提名，其中包括23座艾美奖，1座金球奖提名。目前已经播完18季, 第19季正在热播中。
主人公辛普森一家在这里细细品位着单调而又不寻常的生活。每集开始的片头都要将家庭成员一一介绍一次，最受大家欢迎的坏小子——大儿子巴特，这个总是惹祸的孩子每集片头都会在黑板上写下自己的新“罪行”。在核电场工作的父亲荷莫•辛普森三十几岁就已经秃顶又大腹便便的顾家好男人，以自己一个人的力量养活着全家；二女儿丽莎是所有人眼中的全优少女，聪明且善解人意；还有声音沙哑，留着超高发型的母亲玛琦和永远叼着奶嘴的小女儿玛吉。每个片尾处全家人会冲向沙发集体亮相，而且每集的造型都不同。
在美国，《辛普森一家》（港译《阿森一族》）是最受欢迎的电视动画片。春田镇上的这个五口之家用他们荒诞的经历讽刺着当代美国社会的生活和文化。辛普森一家的形象随着电视剧的走红而成为世界性的流行符号，其中爱捣乱的长子巴特·辛普森已经成为一个大众偶像，连《时代》周刊也将他选为“20世纪演艺界最重要的人物"之一。
其实巴特在动画片里只能算是令人头痛，捣个乱撒个谎，没事爱跟大人对着乾，祸闯大了一样傻眼，这样的小孩世界上何止千千万万，不过当他被推到潮流前线，注册商标就变成了“春田镇的坏男孩（Bad boy of Springfield)"，因为他的坏已经等同于“酷"，“坏"的一面也被特别放大、突出，大家爱就爱他身上一股天不怕地不怕、我是小孩我怕谁的气质。
大人、小孩都爱看的“阿森一族"，最主要的成功因素应该归于将剧中人物刻划得精彩传神的六名配音员，这些幕后功臣也创下全美电视卡通配音员收入最高的纪录。“阿森一族"六名主要配音员的薪水从每集两万五千美元一路上涨，二零零一年更争取到每人每集十万美元的薪资，调薪幅度高达百分之四十三。平均算来，每名配音员参加一季的配音便至少可赚入两百二十万美元。

New York in the late 70s: the arch, anti-establishment energy of CBGBs punk spreads like a virus through the East Village art scene, with hipsters as likely to pick up a cheap Super-8 camera as a guitar or saxophone. A number of eager collaborations between filmmakers, musicians and performance artists are spawned, and a scene tagged No Wave evolves, with the likes of Jim Jarmusch, Lizzie Borden and Susan Seidelman emerging from it. On into the 80s, and contempt for Reaganite conservatism inspires Nick Zedd's Cinema of Transgression Manifesto, proposing, among other things, 'to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men'. The likes of Richard Kern, Lydia Lunch and Casandra Stark enthusiastically sign up. Celine Danhier's authoritative, thorough account of post-punk underground filmmaking in NYC celebrates a time and place where there were no rules, and where artists were encouraged and supported by their peers, those peers being, essentially, their audience. Contributions from key players are numerous and fascinating, as are the clips from the seminal, hugely influential work they produced.
Michael Hayden

在纽约布鲁克林区街头开设香烟店的哈维凯托，和经常到店里买烟的失意作家威廉.赫特是全片的中心人物，透过他俩的交谈各自的遭遇，理出了四个男人与一个女人之间复杂的人生故事……
在东方女性版的《喜福会》造成轰动后，导演王颖转过头来拍摄一部西方男性版，同样是以几个家庭的多线发展探讨人伦亲请的可贵，但味道各有不同。这部电影能把生活中看似平凡无奇的一些细微变化作出高明的解释，不少片段有感人肺腑的剧力，证明王颖已经跨越华裔导演的民族局限性，且西方题材的掌握也能挥洒自如。

第72届戛纳国际电影节将于2019年5月14日至25日在法国南部城市戛纳举行。
电影节期间，竞赛和展映活动同时进行。电影节分为六个单元：“正式竞赛”，“导演双周”，“一种注视”，“影评人周”，“法国电影新貌”和“会外市场展” 。

Did Nick Ray leave Hollywood, or did Hollywood leave him? What was he up to when he returned to the States after a decade in Europe? What was his intention with We Can’t Go Home Again, that experimental film he made with a bunch of college students? What was he doing with so many images on the screen all at once? How did he do it? Why was the film never finished? Did he lose his way, his talent, his sanity, his common sense? Don’t Expect Too Much, a feature-length documentary helmed by Ray’s wife Susan, investigates these questions and the relationship forged by Ray between his life and his art. Drawing on the director’s archive of never-before-seen film, video and stills, Susan finds answers to our questions about Nick Ray in Nick Ray’s own words and images. And we learn from interviews with members of the original crew of We Can’t Go Home Again, directors Jim Jarmusch and Victor Erice, and others, how this man lived, saw, learned and taught, how he fought and danced with his demons, how he loved.

來自路瑞德(Lou Reed)生前御用吉他製琴師Rick Kelly。紀錄格林威治村一家時間彷彿仍停留在六十年代的手工吉他客製坊，名為「卡爾邁街吉他」與它的創辦人瑞克凱利。
手作的溫度，巴布狄倫(Bob Dylan)、佩蒂史密斯(Patti Smith)、威爾可(Wilco)、雙殺(The Kills)等樂團吉他手爭相收藏。
吉姆賈木許(Jim Jarmusch)、艾絲特白莉特(Eszter Balint)等跨足樂團之影人現身暢談吉他經。
以上介绍来自网络