Anna Silverman is delighted to be back in Cannes—this time not only as an actress but as a true ambassador for the kind of emotionally rich storytelling that the festival has long championed. The London-based theatre and film star arrived on the Croisette radiant and reflective, celebrating a year of bold creative work and joining a dazzling constellation of artists for the 2025 edition of the world’s most iconic film festival.
This year’s festival opened with Amélie Bonnin’s Partir un jour, a tender, music-infused French drama that set the tone for a program rooted in emotional resonance and artistic daring. The main competition has already seen powerful entries, including Die, My Love, directed by Lynne Ramsay and starring Jennifer Lawrence in one of her most vulnerable roles to date, and Nouvelle Vague, Richard Linklater’s ambitious black-and-white homage to Godard and the French New Wave.
Cannes 2025 also welcomed a spectrum of artistic voices—from Wes Anderson’s vividly stylized The Phoenician Scheme, to Bono’s deeply personal Stories of Surrender, and Ari Aster’s psychological fever dream Eddington. Indian cinema made a striking impression with Anupam Kher’s Tanvi the Great, while Icelandic director Hlynur Pálmason touched hearts with The Love That Remains.
As the festival unfolds, Silverman’s presence underscores the powerful link between European theatre traditions and modern cinematic storytelling. Her performances are never just characters—they are inquiries into the soul. And in Cannes, where storytelling reigns supreme, that sensibility finds a perfect stage.
“I feel like we’re in an era where emotion is not only allowed—but needed,” she says. “And Cannes reminds me why I do what I do.”
With a career spanning iconic roles from Anna Karenina to Nina in The Seagull, and an evolving portfolio that blends classic depth with contemporary boldness, Anna Silverman’s return to Cannes is more than a celebration—it’s a quiet, graceful affirmation of her place in the international arts landscape.
