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Meet All The Cannes Film Festival Winners

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Wearing sunglasses and visibly emotional, the director received the award from the jury. Credit: Denis Makarenko/Shutterstock.com

Jafar Panahi, one of Iran’s most persecuted and admired filmmakers, has won the Palme d’Or at the Cannes Film Festival for It was just an accident, a powerful and moving film about justice, forgiveness and memory. Wearing sunglasses and visibly emotional, the director received the award from the jury president, Juliette Binoche, marking the culmination of a life cycle defined by censorship, imprisonment and creative resistance.

Panahi was first arrested in 2009 after attending the funeral of a student killed during protests linked to the so-called Green Revolution. Since then, he has been under house arrest, imprisoned, and, most notably, subject to a travel ban that was only lifted in 2023. Rather than silencing him, these restrictions transformed his cinema into a clandestine act of resistance, earning accolades in Berlin, Venice and Cannes itself—despite his inability to attend the festivals in person.

It was just an accident, filmed without permission in Iran, is a dark fable laced with humour about a prison guard who comes face to face with his former victims. The story begins when a man with a prosthetic leg runs over an animal and takes his car to a mechanic. There, the mechanic recognises the man—just by his walk—as the official who destroyed his life. He kidnaps him and, unsure of his identity, sets off on a journey during which other victims debate between revenge and redemption. The narrative is softened by Panahi’s naturalistic touch and moments of irony, such as a police patrol accepting a bribe via card reader.

Banned from being screened in its home country, the film received a standing ovation in Cannes and has been hailed as one of the strongest entries in the competition. It marks Panahi’s return to a more realist, everyday style of fiction, reminiscent of his early work such as The White Balloon, which earned him the Caméra d’Or at Cannes exactly 30 years ago. Although he defines himself as a non-political filmmaker, Panahi insists all his characters are shaped by politics—and It was just an accident is a clear example. Rather than offering a thesis, it poses profound questions about how Iranian society might one day reconcile with its past in a healthy, humane way.

Norwegian director Joachim Trier

Alongside Panahi’s triumph, the Cannes jury awarded the Grand Prix to Sentimental Value by Norwegian director Joachim Trier. The film, a deep exploration of family trauma and the struggles of the artistic world, marks a shift in tone from his much-praised The Worst Person in the World. Trier now ventures into darker territory, though the film closes on a note of hope.

The Jury Prize

The Jury Prize was shared by Sirat from Oliver Laxe and Sound of Falling by German director Mascha Schilinski. Sirat is a spiritual parable set in the Moroccan desert, where a father (Sergi López) and son search for a missing young woman at a rave. The film breaks with conventional narrative structure and demands rare introspection from the viewer. With this work, Laxe further cements his deep connection with Cannes, where all his films have been honoured. Schilinski, meanwhile, dazzles with a formally ambitious proposal that tells the story of 20th-century Germany through an estate inhabited by four generations.

Brazilian cinema also shone at this year’s festival

O agente secreto by Kleber Mendonça Filho won the award for best director, while its lead Wagner Moura was named best actor. Set in 1977, the film mixes political thriller, violence and nostalgia to portray a dark era in Brazil with striking emotional precision.

Female Category

In the female category, newcomer Nadia Melliti won best actress for La petite dernière, in which she plays a young lesbian Muslim woman grappling with her identity in a Western society that, while freer, still stigmatises. Her performance, intense and refreshingly devoid of clichés, was one of the most warmly received surprises of the festival.

Special Prize

The Dardenne brothers added another accolade to their long list of awards, taking home best screenplay for Jeunes Marès, a film focused on teenage mothers and shot in their characteristic realist, documentary style. The jury also awarded a Special Prize to Resurrection by Chinese director Bi Gan, an ambitious fantasy told in three chapters that spans 20th-century Chinese history, with tributes to cinematic language from the Lumière brothers to Murnau.

Cannes thus closes a politically charged edition, full of reflection, memory and artistic resistance. In this context, the return of Jafar Panahi to his rightful place—at the heart of world cinema—symbolises far more than a personal triumph. It is a celebration of art in the face of repression, of dignity over oblivion.

Stay tuned with Euro Weekly News for more news from France.

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Estepona Pays Off Debt And Slashes Rates

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Debts paid – taxes down. Estepona government. Credit: Ayuntamiento de Estepona

In a landmark achievement, the Costa del Sol town of Estepona has officially reached ‘zero debt’ after paying off over €300 million, paving the way for what Mayor José María García Urbano has described as “the largest tax reduction in the town’s history.” 

The milestone, certified by the municipal comptroller, will translate into immediate relief for residents, with a 20 per cent reduction in the Property Tax (IBI) for 2025. This cut marks a cumulative 50 per cent decrease in IBI since 2011, with the mayor hinting at further tax reductions in the coming years if the town’s finances remain robust.

García Urbano revealed that in 2024 alone, Estepona paid over €26 million to fully amortise its financial debt, a feat accomplished through what he called “responsible, efficient, and austere” management. Once among Spain’s most indebted municipalities, with a staggering €4,600 per capita debt, the town has allocated an average of €60,000 daily since 2011 to clear its obligations. These included €33 million in unrecorded invoices, €6 million owed to the Andalusian Regional Government for misused grants, €60 million to Social Security, €18 million to the Tax Agency, and over €90 million through the Supplier Payment Plan.

Debt free, Estepona opens new chapter with lower property tax

“This closes one of the darkest chapters in Estepona’s history,” García Urbano declared, emphasising that the town has not only cleared its inherited debt but also avoided new borrowing. All recent infrastructure projects and municipal facilities have been funded without incurring debt, a testament to the town’s financial turnaround. The 2024 budget liquidation reported a record-breaking surplus of €45 million and budgetary stability of €24 million, with an average supplier payment period of just 12 days, placing Estepona among Spain’s fastest-paying administrations.
The mayor highlighted transformative projects that have modernised the town, including the nearly completed Coastal Corridor, a 95 per cent finished pedestrian boardwalk stretching Estepona’s entire coastline.

Other developments include the Felipe VI Theatre Auditorium, the Orchid Park, the Carmen Cultural Centre with its eight-storey Contemporary Cultures Library, and a new athletics stadium.

The former N-340 highway has been reimagined as one of Spain’s largest seafront boulevards, while the Calle Terraza renovation and a municipal parking plan offering 2,000 spaces at €1 per day or €3 for 24 hours have greatly improved accessibility and liveability.

García Urbano has attributed these achievements to “prudent resource management”, contrasting the current administration’s approach with the “financial mismanagement of previous governments.” “With strength and vision, we are advancing toward an excellent town,” he said, expressing optimism for Estepona’s future as a model of fiscal responsibility and urban innovation. The combination of debt elimination, tax cuts, and ambitious projects puts Estepona as an example of responsibility and progress on the Costa del Sol, delivering tangible benefits to its residents and setting a standard for municipal governance.

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Flight To London Crashes, 245 On Board

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A devastating air disaster struck the city of Ahmedabad on Thursday afternoon when Air India Flight AI171, bound for London Gatwick, crashed into a residential area just moments after takeoff. The Boeing 787 Dreamliner was carrying 245 people, including 233 passengers and 12 crew members, when it plummeted into the Meghani Nagar neighbourhood, sending flames and thick black smoke billowing into the sky.

Seconds After Takeoff

Flight AI171 departed from Sardar Vallabhbhai Patel International Airport at approximately 1:38 PM local time. According to preliminary flight data, the aircraft reached an altitude of only 625 feet before losing contact with air traffic control. Within moments, it veered off course and slammed into a cluster of buildings, triggering a massive fireball.

Eyewitnesses described scenes of horror as the plane descended unnaturally low before the impact. “There was a deafening roar, and then everything shook,” said Rajeev Kumar, a local resident. “The sky was on fire.”

Emergency Response

Local emergency services responded within minutes. At least seven fire engines and multiple ambulances were dispatched to the scene, where crews battled flames and searched for survivors. The area has been cordoned off to facilitate rescue operations.

Although officials have yet to confirm the number of casualties, sources indicate that fatalities are “highly likely.” The condition of survivors, if any, remains unknown at this time.

Government and Airline React

India’s Civil Aviation Minister, Ram Mohan Naidu Kinjarapu, issued a statement confirming the crash and expressing deep concern. “We are monitoring the situation closely and doing everything possible to support rescue efforts,” he said.

Air India has activated its emergency response protocol and is working with authorities to contact families of those on board. “This is a tragic day for all of us,” said Natarajan Chandrasekaran, Chairman of Tata Group, which owns Air India. “Our thoughts are with the passengers, crew, and their loved ones.”

Investigation Underway

The Directorate General of Civil Aviation (DGCA) has launched a full investigation into the cause of the crash. Black box recovery operations are underway, and teams are analysing technical data, including weather, fuel systems, and mechanical performance.

Experts note this would be the first fatal crash involving a Boeing 787 Dreamliner since its introduction to commercial service in 2011.

A Nation in Shock

The tragedy has shaken the nation and the international community. British authorities are coordinating with Indian officials to identify and assist UK nationals who may have been on board.

Messages of sympathy have poured in from around the world as families anxiously await news. The Indian Prime Minister is expected to visit the site later today.

Updates to follow as story develops

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Norway Heist Ends With Thief-Made Painting

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Seljord art heist ends with surprise discovery. Credit: Seljord Art Association

A break-in at a quiet art centre in Seljord, Norway, has shocked the local community, not only because of the damage done but because the burglars left behind a surprise of their own. After ransacking nine rooms and stealing or destroying over 150 works of art, the thieves painted their own picture and left it behind on the back of an existing artwork.

The break-in happened at Kunstlåven, the Seljord Art Barn, at the end of February. When the Seljord Art Association members arrived, they were met with a heartbreaking sight. Paintings had been torn from walls, canvases were slashed, and sculptures were either stolen or damaged. A knife had even been driven into the head of a doll, adding a disturbing element to the already unsettling scene.

In total, 66 works of art were stolen, and 85 were damaged. But among the destruction, something unexpected was found.

In one room, everything was neat and tidy. The lights were on, and the space looked like it had been lived in. The burglars had used it as a hideout, staying there for several days. According to Dag Aanderaa of the Seljord Art Association, the room was strangely peaceful.

“In this one room, there was a light that was not visible from the outside,” he said. “They were probably sitting there and having a good time.”

And they were doing more than just resting. The burglars picked up brushes and painted their image on the back of a painting by the late local artist Willy Eimerdal Jensen. The painting they used now has an unusual story, part original artwork, part evidence in a criminal case.

The story is even more bizarre because the thief-made painting is not being thrown away. Members of the art association say it is “usable, within its genre”, and surprisingly not that bad.

The strange case has drawn comparisons to famous art thefts in Norway, such as the theft of Edvard Munch’s The Scream. But this incident is different. It combines crime with creativity in a way that few expected.

After weeks of investigation, the police in the South-East Police District announced that four people from Seljord have been charged. They have reportedly admitted to being in the barn and are cooperating with authorities. Thanks to tips from the public and help from the art association, many stolen artworks have now been recovered.

“It was a very good feeling to be able to return many of the artworks to the Seljord Art Association,” said patrol leader Else Krogseth Eilefstjønn.

Police are still working to track down all of the missing pieces. However, the return of many stolen works has brought some relief to the local art community, which the break-in has shaken.

Seljord is a small town surrounded by nature and known for its local legends and folklore, including the famous Seljord Serpent, a creature said to live in Lake Seljord. It is not a place where people expect art crimes to happen. The burglary has been deeply upsetting for the Seljord Art Association, which works to promote and protect local talent.

Many of the stolen or damaged pieces were created by local artists, including the late Willy Eimerdal Jensen, whose painting was used as the canvas for the thieves’ own creation. The decision of the burglars to paint on the back of his work has left the community with mixed feelings — some see it as a final insult, others see it as a strange kind of tribute.

Whether or not the thief-made painting will ever be shown publicly is still unknown. The art association has not decided what to do with it, but it is being kept as part of the case file and possibly as a future talking point.

In Norway, as in many countries, art holds great cultural value. It reflects personal expression and the community’s identity and stories. The loss or damage of such works can be deeply personal for artists and those who support them. That is why this case has received attention locally and across the country.

The fact that the burglars decided to create something during their stay adds a strange twist to the story. It raises questions about their motives, state of mind, and what they were doing in the art barn for several days.

Were they simply hiding out? Were they making fun of the art world? Or were they, in their own way, trying to leave their mark?

Whatever the reason, the Seljord burglary has become more than just a story of theft and vandalism. It is also a story of curiosity, creativity, and confusion. For now, the thief-made painting remains a symbol.

As the investigation continues, the Seljord Art Association is slowly getting back on its feet. Restoring the damaged works, supporting affected artists, and deciding what to do with the paintings left behind will take time. But they hope something positive can still come from a very unusual break-in.

One thing is sure — this was no ordinary burglary. And the painting left behind will not be forgotten anytime soon.

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