The first show of the French television about movies; the only one dedicated to the Cannes Film Festival. Features interviews and backstage footage devoted to the event, the gala evenings, the competing films, and everyday life in Cannes.

We thought we'd seen, read, and heard everything there was to see about the Cannes Film Festival, from the glitz and gossip to the scandals and censorship. And yet, Emmanuel Barnault's "Morceaux de Cannes" (Pieces of Cannes), by this leading expert on Italian and French cinema, convinces us otherwise. The third largest event in the world (after the Olympic Games and the FIFA World Cup) reveals its secrets only sparingly, as this film attests. The result of passionate research in the INA archives, these 52 minutes, without interviews or voice-over narration, string together rare and sometimes previously unseen footage. Taken together, they tell a surprising, original, and heartwarming story of the Festival. On the beach, on a street corner, in a restaurant, or in the privacy of a hotel room, these forgotten archives summon the greatest filmmakers, actors, and actresses of the last seventy years, from Jean Cocteau to David Lynch, for an anthology of the Festival's history.

Covering Cannes Festival, Olivia Sabah making interviews of actors, directors and producers.

Looks at the glamour, red carpets, movies, craziness, stunts, deals, parties and personalities that have been part of the Cannes Film Festival over eight decades, as well as looking to the future.

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"Occupy Cannes," follows Lloyd Kaufman and The Troma Team on what could be their last trip to the Cannes Film Festival. The film dives into the underbelly of the glamorous event and offers a window into a vibrant subculture.

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Inna, a French teacher, lives a luxurious life in Cannes with a rich Frenchman and her son Petya, whom she gave birth to before moving to Europe. Suddenly, her influential companion dies, and the woman, who has not formalized an official relationship with him, remains practically penniless with her underage son in her arms.

Cannes, 1999. Alice, an actress, wants to direct an indie picture. Kaz, a talkative (and maybe bogus) deal maker, promises $3 million if she'll use Millie, an aging French star. But, Rick, a big producer, needs Millie for a small part in a fall movie or he loses his star, Tom Hanks. Is Kaz for real? Can Rick sweet-talk Alice and sabotage Kaz to keep Millie from taking that deal? Millie consults with Victor, her ex, about which picture to make, Rick needs money, an ingenue named Blue is discovered, Kaz hits on Victor's new love, and Rick's factotum connects with Blue. Knives go in various backs. Wheels spin. Which deals - and pairings - will be consummated?