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Amazingly after 2 hours sleep we make it to the 8.30am competition screening of The Paperboy. It's a testament to how engaging the film is that none of us doze off, even for a second.
We get up bright and early to try and catch a 9am screening in Director's fortnight. We manage to make it out of the flat by 7.30am so I'm hoping that will be enough queuing time.
Vitamined up, I have time for one more film before catching the bus to the airport.
My very first time in Cannes and to say I'm a little excited to be here is a big understatement. I'm very lucky to have my colleague Becky as my guide, she's full of beans for the festival, has glorious skills and know-how when it comes to planning a full day of films - plus it's a joy to have a companion for the long queues and umbrella-holding duty!
On the internet bright and early we unfortunately missed out on tickets to the Walter Salles film On The Road but we did manage to get some for Holy Motors, an intriguing sounding film by Leos Carax.
I feel deeply guilty for complaining about a little rain during the next film. La Pirogue is a hard-hitting story about people from Senegal who try their luck crossing the seas to Spain in a rudimentary wooden fishing boat. As expected, much peril awaits.
After a mad dash to Gatwick with the Victoria line suspended, my colleague Sarah and I finally made it to Cannes.
My second day begins well with a walk up the red carpet for a distinctly non-glamorous morning screening, but at least I can report back to my mum on the filthy state of that carpet to see Thomas Vinterberg's The Hunt.
Bonjour Cannes! A bit of a false start for my first day, but hey, that's Cannes.
Another month, and another selection of news from the ICO office.
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