With an atmosphere filled with political speeches, tributes to legends of the seventh art, and a controversial ban on nudity, Cannes 2025 invites us to reflect on the power of the female body, fashion as provocation, and the new forms of censorship that emerge even from seemingly progressive spaces.
Veto on nudity
Perhaps the biggest surprise of the first night on the Croisette was not seeing Quentin Tarantino declare the festival “officially open” and dropping the microphone, or even hearing Robert De Niro refer to Donald Trump as “the Philistine president of America” during his tribute at the Palais. What really sparked debate was a new rule quietly published on the festival’s official site: “For reasons of decency, nudity is prohibited on both the red carpet and in any other area of the festival.”
Cannes has decided to put an end to what for years was one of its most talked-about visual trademarks: the ‘naked dress’. The transparent, suggestive, and powerful dress that became a symbol for many women who, through fashion, claimed their right to show themselves without filters or apologies. But now, what used to be a statement of strength and freedom seems to have crossed the thin line of what is “tolerable”.
Decency or double standards?
In theory, the rule is clear. In practice, not so much. While some influencers were stopped for wearing too daring necklines or bold transparencies, figures like Bella Hadid or Julia Garner continued to move forward smoothly along the Croisette. The reason? Perhaps their relationship with the major fashion houses that sponsor the event. Perhaps their status as “celebrities at Cannes”. Perhaps, simply because, deep down, the rules are not the same for everyone.
And here is where many of us raise an eyebrow. Because what is presented as an issue of “protocol” or “traffic flow” - voluminous dresses with a train are also prohibited, for example - seems to hide a much deeper discomfort with female bodies that do not conform to what is considered “elegant,” “correct,” or “controlled.”
The body, always political
Nudity is not new in Cannes. From the appearance of Ilona Staller in 1985 with a pink dress without a top, to the iconic looks of Naomi Campbell or Claudia Schiffer, the red carpet has always been a place to push boundaries. But there is a fundamental difference between empty provocation and intentional provocation. For many women, the act of showing their bodies is not trivial, but rather an assertion: of autonomy, desire, power.
Can a festival that pays tribute to transgressive filmmakers —such as David Lynch— censor at the same time the bodies that have historically been objects of censorship? Can it celebrate narrative freedom while limiting aesthetic freedom?
Empowered or Hypersexualized Fashion
This debate is not new. For years, social media and red carpets have been a battleground between those who see the naked dress as a form of empowerment and those who consider it an empty repetition of a tired idea. However, the issue is not the sheer dress itself, but what it represents: a woman’s right to decide how, when, and why she shows herself.
Fashion —especially women’s fashion— has historically been interpreted as superficial, but in reality, it is deeply political. What a woman chooses to wear, especially in public spaces, says a lot about the times we live in. And if Cannes now says “no” to nudity, what it is doing is not protecting decency, but rather redefining the boundaries of what it considers acceptable, mostly for economic reasons to maintain the morals of certain sponsors.
Cannes, politics, and contradiction
The most curious thing is that this edition of Cannes has been one of the most political in recent history. With Robert De Niro calling for organizing against authoritarianism and Leonardo DiCaprio praising his commitment to democracy, the festival positions itself as a bastion of freedom. But that freedom seems to stop at the fabric of a dress.
Because while speeches on civil rights are applauded, the right to bodily expression is quietly repressed. While artists who broke molds are honored, women are expected to conform to norms that seem to be from another century. Are we facing a new era of conservatism disguised as protocol? Or will this be a turning point to stop fashion movements that discomfort Middle Eastern sponsors on the red carpets? The truth is that Cannes, with its elegance and contradictions, continues to be a reflection of the world we inhabit.
Perhaps the real revolution is not about wearing less or more fabric, but about not having to justify either option. Because the body —like cinema— is a language. And censoring it, even if done politely, is still censorship.