Cannes is known for old-school glamour, but rules and traditions can undermine logic and practicality. In 2015, women were barred from a gala screening for not wearing high heels, including producer Valeria Richter despite an amputation affecting part of her left foot. Julia Roberts protested by walking the red carpet barefoot. Cannes also allows audiences to voice strong opinions, and filmmakers may respond in kind. When Pulp Fiction won the Palme d’Or in 1994, a heckler shouted insults and Quentin Tarantino responded with a gesture. Isabelle Adjani avoided a traditional photocall in 1983 due to press intrusion, and photographers turned away when she arrived. In 2011, Terrence Malick’s The Tree of Life was heavily booed at its first screening due to its slow, sprawling pace.
"In 2015, a group of women were barred from the gala screening of Todd Haynes' historical lesbian romance Carol for not adhering to the rule that women must wear high heels. The same happened to producer Valeria Richter, even though part of her left foot had been amputated. A year later, Julia Roberts made her displeasure about this known by walking the red carpet barefoot."
"Cannes has developed a reputation for being a place where audiences are free to express their opinions, and film-makers are free to express them back. A perfect illustration is when Pulp Fiction won the coveted Palme d'Or in 1994, to thunderous applause. As the clapping died down, a single female voice called out Quelle daube! Mais quelle daube! Putain, fait chier! (roughly What a load of crap! What a load of crap! Fucking hell, this is annoying!). Tarantino responded by flipping her the bird."
"Adjani was at the height of her fame in 1983, and struggled with press intrusion. As such, while in Cannes for her film One Deadly Summer, she made the decision to ditch the photocall that traditionally takes place after press conferences. This was not well received; when she arrived on the red carpet for the film's festival screening, all the photographers put down their cameras and turned away from her."
"Sometimes a film hits Cannes that fulfils the audience's desire to boo and cheer a film. Terrence Malick's The Tree of Life, his first in six years and only his fifth since 1973, managed to fit the bill perfectly. The film's meandering pace and long jags about the birth of the universe meant that it was heavily booed at its first screening for"
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