CANNES (France) - In a brief ceremony in the Debussy theater prizes for the Un Certain Regard (“a certain look” in French translation) program were given by the jury, presided over by Pablo Trapero.

While these films run in the non-competitive selection, they are awarded prizes.

Something happened tonight which I’ve never seen before.

The Cinéfondation and Short Films Jury headed by Abbas Kiarostami and including Mahamat-Saleh Haroun, Noémie Lvovsky, Daniela Thomas and Joachim Trier, has awarded the 2014 Cinéfondation Prizes during a ceremony held in the Buñuel Theatre, followed by the screening of the winning films.

The Cinéfondation Selection consisted of sixteen student films, chosen out of 1,631

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This Cannes Festival has finally been unshackled from the supremacy of older males turning out less than stellar work: Xavier Dolan, a twenty five year-old filmmaker from Québec who's brought films to Cannes before has thrown down the gauntlet. His new film "Mommy" is the first one to appear in the competition section and is the new favorite for the top prize this year. In “Mommy” single-mother Diane raises her violent son Steve

Major rush trying to get into the Lumiere theater for the mid-afternoon premiere of Godard’s “Adieu au Langage” yesterday, people pushing, shoving, huffing and puffing their way inside the theater.

“We’re about to go watch the new Godard film in Cannes,” I told my colleague in the rush to the theater, “it’s incredible.” In the end, it felt more like we were stuck in a space-time continuum.

"The Search," which screened for the press yesterday morning is a two-and-a-half hour-long war drama set in war-torn Chechnya in 1999. In this new film by "The Artist" director Michel Hazanavicius we follow four different people as they contend with the vagaries of war, the main one being about a woman who's separated from her brother after a bombing attack and goes on the search of the title. The director’s wife Bérénice Bejo plays

My knowledge of Greek cinema is imperfect, I admit--but am I alone? Greek cinema has historically suffered from a lack of promotional support abroad, which leaves moviegoers with scant information about the Greek canon. I remember watching Yorgos Lanthimos’s “Dogtooth” in Cannes a few years ago and feeling unnerved but also strangely delighted. Lanthimos took risks by putting characters that that were not likable in a situation so unusual