2019 Cannes Film Festival and Film Market in numbers:
Cannes International Film Festival
The CST is a long-standing partner of the Cannes Film Festival and has worked alongside Festival management since 1984.
We advise all the different sections of the Festival as well as the Film Market with regard to technical questions, allowing them to offer a unique experience to Festival-goers.
This means the CST supervises screenings in all the Festival selections, the Film Market screenings and those at Critics’ Week. It is also responsible for validating the installations and technical supervision for AFCAE and Film Market screenings in downtown theatres. The CST is in charge of coordinating all projectionists, the Film Festival’s technical staff and outside service-providers.
At the Cannes Film Festival, the CST also brings the Festival alive for its members and partners at its booth in Pantiéro international village.
The CST prize for best Artiste-Technician
This prize is one of the official awards for the Cannes Film Festival’s official competition. It is awarded by a special jury appointed by the CST and it recompenses a technician for his/her collaboration in the creation of a cinematographic work.
In 1951, the CST created its Grand Prix Technique which existed until 2001. There was no prize in 2002. In 2003, the Chairman of the CST, Pierre-William Glenn, fought to have a technical award reinstated at the Festival. This award was known as the Vulcan Prize, “the Prix Vulcain de l’Artiste-Technicien”. It was bestowed by a special jury appointed by the CST and was part of the Cannes Film Festival’s official prize list, presented to the winner at a special event after the Festival. Gilles Jacob, the Chairman of the Festival, endorsed this prize, which became part of the Festival legend.
This technical award recognizes the work of an artiste-technician (director of photography, decorator, costume designer, editor, sound engineer, mixer, etc.) and the quality of their contribution to the creation of a film in the official competition at the Cannes Film Festival.
Through this prize, the CST shows the importance of the creative and technical know-how of film technicians all over the world by rewarding one of them each year for making the best artistic contribution to a film.
The award comprises two main stages:
- the announcement of the winner in the official prize list at the end of the Cannes Film Festival
- the presentation of the prize to the winner at a later date at an event organized by the CST.
2019: Flora Volpelière, chief editor and Julien Poupard (AFC), director of photography for their contribution to an astonishing and generous film by Ladj Ly, LES MISERABLES.
2018: Shin Joom-Hee, artistic director of Lee Chang-Dong’s film, BURNING, for her exceptional contribution to the characterisation of the actors.
2017: Josefin Åsberg, for her remarkable artistic input, in keeping with the inventiveness of THE SQUARE, directed by Ruben Östlund.
2016: Seong-Hie Ryu, for her highly inspired artistic direction of the film MADEMOISELLE (Ah-ga-ssi) directed by Park Chan-Wook.
2015: Tamas Zanyi, Sound Designer, for the exceptional contribution of the sound to the narration of the film SAUL FIA (Son of Saul) directed by László Nemes.
2014: Dick Pope, BSC, for the lighting of Turner’s works in Mr. TURNER, directed by Mike Leigh.
2013: Antoine Héberlé, Director of Photography, AFC, for the refinement and humility of the filming of GRIGRIS, directed by Mahamat-Saleh Haroun.
2012: Charlotte Bruus Christensen for her exceptional camera work which made a decisive contribution to the cinematographic grammar of Thomas Vinterberg’s film, JAGTEN .
2011: José Luis Alcaine for his lighting that specifically served the narration of Pedro Almodovar’s film, LA PIEL QUE HABITO.
2010: Bob Beemer and Jon Taylor for their mixing of the film BIUTIFUL.
2009: Aitor Berenguer, mixer of MAP OF THE SOUNDS OF TOKYO by Isabel Coixet.
2008: Luca Bigazzi, director of photography and Angelo Raguseo, mixer, for IL DIVO, directed by Paolo Sorrentino.
2007: Janusz Kaminski, director of photography, for THE DIVING BELL AND THE BUTTERFLY by Julian Schnabel.
2006: Stephen Mirrione, editor, for his work on BABEL by Alejandro Iñárritu.
2005: Leslie Shatz, sound engineer, for the sound design of Gus van Sant’s LAST DAYS and Robert Rodriguez for his visual treatment of SIN CITY.
2004: Eric Gautier, director of photography, for CLEAN by Olivier Assayas and DIARIOS DE MOTOCICLETA by Walter Salles.
2003: Tom Stern, director of photography, for MYSTIC RIVER by Clint Eastwood.