In May 2025, the Prix Luciole—an award dedicated to the narrative power of film posters—makes its anticipated return to the 78th Cannes Film Festival. Initiated by the Alliance Cinéaste Chine-Europe (ACCE), this independent accolade is the first of its kind during the festival to spotlight the art and imagination behind cinematic poster design.
Often the very first image the public sees of a film, the movie poster remains a vital visual and emotional bridge between cinema and audience—even in today’s media-saturated landscape. The Prix Luciole aims to reignite public appreciation for poster artistry, exploring how it transcends language and geography to evoke perception, stir resonance, and construct meaning across cultures.
A Look Back: Letting Images Speak
On May 24, 2024, the inaugural Prix Luciole Awards Ceremony was held at the Le Gray d’Albion Hotel in Cannes. Jury member Thomas Pibarot was joined by special guest Wu Ke-Xi—actress and screenwriter featured in the Cannes Semaine de la critique selection—for the presentation of awards.
The Best Poster Award was given to the poster for Julie Keeps Quiet, accepted by sales agent Paulina Ciok, who shared remarks on behalf of the creative team. The Special Mention Award went to A Fireland, an ACID selection, for a poster designed by the film’s director Mona Convert herself, who was present to discuss how she transformed directorial vision into visual language.
The Jury Prize was awarded to the poster for She’s Got No Name, a Chinese film. Although the team could not attend the ceremony, director Peter Chan received the honorary certificate at a press event the next day and offered heartfelt reflections on his creative process:
“There was significant disagreement within the team about choosing this as the main poster. But I insisted—there’s a shot in the film that reminded me of a Van Gogh painting, and I told poster designer Huang Hai’s studio that we had to use it. The team was worried that a poster with no characters—especially without the lead actress—might not attract audiences. Still, I pushed for it. Winning the Prix Luciole Jury Prize and being recognized by international jurors affirms that choice, and I’m truly grateful.”
Meanwhile, the Audience Choice Award was presented to Black Dog, a testament to how viewer voices shape the award’s broader ecosystem.
Judging with Vision: Where Aesthetics Meet Insight
The inaugural jury brought together diverse perspectives from film criticism, visual design, and the film market: Sheri Linden (Senior film critic at The Hollywood Reporter), Lionel Avignon (Creative Director and co-founder of Hartland Villa design studio), and Thomas Pibarot (Senior international film distributor and consultant for the film industry). Their expertise ensured a balance of aesthetic sensitivity, market savvy, and audience insight in evaluating the nominated works.
Notably, Hartland Villa—designers of the official Cannes poster since 2021—was lauded in 2025 for their “double-themed” tribute to Claude Lelouch’s Un homme et une femme. Co-creator Lionel Avignon will return as a Prix Luciole juror in 2025, bringing his distinctive vision and refined visual sensibility to the selection process.
Also returning is Thomas Pibarot, who brings deep experience in film marketing and distribution. Joining the jury for the first time is renowned graphic designer and poster artist Brian Hung, whose work is marked by a subtle, restrained yet profoundly impactful visual language. Known for his ability to distill a film’s emotional core into striking imagery, Hung has designed posters for the restored editions of Shinji Sōmai’s Love Hotel and Typhoon Club, Hong Sang-soo’s Hotel by the River, and Éric Baudelaire’s A Dramatic Film (Un film Dramatique), among others.
2025 and Beyond: A Modest Award with an Expansive Vision
With the support of NEBULASTONE, Clapotis Films, and SUN Business Law Firm, the Prix Luciole will return to Cannes in 2025. Staying true to its “small but deep” ethos, the award continues to gather diverse voices from the worlds of cinema, design, media, and audience culture—focusing on how posters serve as a film’s “pre-language,” telling stories before the first frame even begins.
Though modest in size, the light of the “luciole”—a firefly—can illuminate the moment where gaze meets imagination. The Prix Luciole believes a great poster doesn’t just attract attention; it opens up silent yet profound narratives, rekindling a deep and pure love for the visual art of cinema.
Our reporters are on the ground in Cannes, France, to bring you exclusive content from the 78th Cannes Film Festival—explore our coverage here.
