The Cannes Film Festival 2025 commenced on May 13 in Cannes, a city in France and has a vibrant and multifaceted presence of Asia at its 78th edition.

The film festival underscores the growing influence in the international cinema of the continent. Despite the evolving landscape and challenges of global film recognition, Asian actors, filmmakers and productions are making a notable impact at this year’s festival, which runs until May 24, through official selections, appearances on the Red Carpet and participation on the jury.

A major development is India’s return to the main competition, albeit as jury, marks a significant milestone for Indian cinema. Indian filmmaker Payal Kapadia, who made history last year by winning the Grand Prix, the second-most prestigious prize of the festival after the Palme d’Or, for All We Imagine as Light, is now serving as a jury member in the main competition, highlighting the artistic and symbolic presence of India at Cannes.

Although no Indian film is in the main competition this year, the country maintains a strong profile across various sections. Homebound, directed by Indian filmmaker and writer Neeraj Ghaywan and produced by Dharma Productions, starring Indian actors Ishaan Khatter, Janhvi Kapoor and Vishal Jethwa, is premiering in the Un Certain Regard category, a section of the Cannes Film Festival run parallel to the competition for the Palme d’Or with the added distinction of Hollywood bigwig Martin Scorsese as Executive Producer.

Other Indian highlights include the world premiere of Tanvi: The Great, a special screening of the restored classic Aranyer Din Ratri of Satyajit Ray, and the student film A Doll Made Up of Clay from Kolkata’s Satyajit Ray Film & Television Institute, featured in La Cinef.

Off the screen, Indian celebrities are also in the spotlight. Indian actress Alia Bhatt is making her much-anticipated Cannes debut, joining veteran Aishwarya Rai Bachchan on the red carpet. Rising star Nitanshi Goel, known for Laapataa Ladies, is also present, alongside industry figures such as Karan Johar and Sharmila Tagore, who is attending the screening of Ray’s restored film.

But it is not just India at Cannes. From across Asia, other countries are equally prominent. China is represented in the main competition by Jia Zhangke’s Caught by the Tides, while Saudi Arabia marks a historic moment with Norah, the first Saudi film in the official selection. Additional Asian entries include Black Dog by Chinese film director Guan Hu, My Sunshine by Japanese film director Hiroshi Okuyama, Santosh by Indian filmmaker Sandhya Suri, Viet and Nam by Vietnamese filmmaker Truong Minh Quý and She’s Got No Name by Hong Kong filmmaker Peter Chan Ho-Sun.

South Korea, despite not having a film in the main competition for the third consecutive year, maintains a strong presence. South Korean actresses Kim Go Eun and Han So Hee are set to grace the red carpet as brand ambassadors for major global brands, reflecting the intersection of entertainment, fashion and international branding. Korean cinema is further represented with Colony by director Yeon Sang Ho and First Summer by Heo Gayoung in La Cinef, while Jung Yoomi’s animated short Glasses is featured in Critics’ Week. Korean director Hong Sangsoo serves on the main competition jury, ensuring Korean perspectives are included in the festival’s decision-making.

Southeast Asia and Hong Kong are also making their mark. Juno Mak’s Sons of the Neon Night is the only Asian film in the Midnight Screening section, highlighting the region’s ongoing influence in genre cinema. The Hong Kong film industry maintains a focused presence at the Marché du Film, the festival’s film market. Restored classics such as Seven Samurai by Japanese filmmaker Akira Kurosawa and Shanghai Blues by Hong Kong filmmaker Tsui Hark are featured in the Cannes Classics programme, while Cambodian film Meeting with Pol Pot and Chinese film An Unfinished Film are included in the Cannes Premiere and Special Screenings, respectively.

The festival’s jury, chaired by Juliette Binoche and comprising figures such as Payal Kapadia and Hong Sangsoo, reflects the diversity and depth of Asian cinematic voices. Their participation ensures that Asian perspectives are considered in the awarding of the Palme d’Or and other prestigious prizes.