Another vintage year at Cannes for ARRI

A wonderfully successful festival again for ARRI in Cannes, with almost 60% of feature films from all selections being shot with ARRI equipment and more than 40% captured with the ARRI ALEXA and ARRI cine lenses. Overall, more than half of the festival's films that were shot digitally used ALEXA as their main camera, showing that ARRI remains the pre-eminent technology leader, setting a gold standard for the rest of the industry.


Cannes is also an opportunity for ARRI to strengthen its links with film directors through its partnership with Director's Fortnight. Year after year, the now traditional ARRI Happy Hour event at the directors' bar continues to be an exciting and well-attended focal point of the fortnight's activities, attracting both established directors and up-and-coming new talents. In addition, two AMIRA camera kits were supplied by ARRI for the interviews with all directors in the selection; these interviews can be seen on the Directors Fortnight website.

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Another festive moment was shared for the first time in 2015 with the PGA (Producers Guild of America) and APC (French Producers Association): a drinks reception held at the French Film Commission Pavilion gave American and French producers the opportunity to meet each other, and to peruse current ARRI products such as the ALEXA Mini and Master Anamorphic lenses. By hosting this successful new event, ARRI reasserted its commitment to manufacturing equipment that combines quality and economy -- two particularly important issues for producers.

Naturally ARRI paid particular attention to cinematographers and over the course of the festival filmed interviews with many of them about their work on the films in competition. A highlight this year was an interview with Roger Deakins ASC, BSC, CBE on the film SICARIO, which he shot with ALEXA cameras and Master Prime lenses, experimenting with the ALEXA Open Gate shooting mode to maximize spatial resolution. All of the video interviews will be appearing here on the ARRI website soon.

Representatives from the global ARRI Rental group were also in attendance at ARRI's festival events, alongside colleagues from the postproduction company ARRI Media (formerly ARRI Film & TV) and ARRI Worldsales, which had a booth at the film market.

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Here below is a list of winning films that made use of ARRI camera equipment.

Compétition officielle

Grand Prix
SAUL FIA (SON OF SAUL) Dir. László Nemes; DP Mátyás Erdély HSC
ARRICAM LT and ARRI 235 (35 mm) with Master Prime lenses

Award for Best Director
NIE YINNIANG (THE ASSASSIN) Dir. Hou Hsiao Hsien; DP Ping Bin Lee
ARRICAM ST/LT (35 mm) with Master Prime lenses

Le Prix du Jury 
THE LOBSTER Dir. Yorgos Lanthimos; DP Thimios Bakatakis

Caméra d'Or
LA TIERRA Y LA SOMBRA Dir. César Acevedo; DP Mateo Guzman
ARRI ALEXA (ProRes) with Ultra Prime lenses

Prix Un Certain Regard
HRÚTAR (THE RAMS) Dir. Grímur Hákonarson; DP Sturla Brandth Grøvlen

Prix du Jury Un Certain Regard
ZVIZDAN (THE HIGH SUN) Dir. Dalibor Matanic; DP Marko Brdar

Un Certain Talent Prize
COMOARA (THE TREASURE) Dir. Corneliu Porumboiu; DP Tudor Mircea RSC
ARRI ALEXA (ARRIRAW) with Master Anamorphic lenses

Prix de l'Avenir Ex-aequo
NAHID Dir. Ida Panahandeh; DP Morteza Gheidi

Quinzaine des réalisateurs

Label Europa Cinemas 
MUSTANG Dir. Deniz Gamze Erguven; DP David CHIZALLET

Prix Art Cinema Award
EL ABRAZO DE LA SERPIENTE Dir. Ciro Guerra; DP David Gallego
ARRICAM LT (35 mm) with ARRI/ZEISS Distagon lenses

Semaine de la Critique

Prix Révélation France 4 & Prix SACD
LA TIERRA Y LA SOMBRA Dir. César Acevedo; DP Mateo Guzman
ARRI ALEXA (ProRes) with Ultra Prime lenses

Grand Prix Nespresso
PAULINA (LA PATOTA) Dir. Santiago Mitre; DP Gustavo Biazzi

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