The Cannes Palme d’Or winner, La Vie d’Adele (Blue is the Warmest Color), was shot on two Canon C300 cameras fitted with Angénieux Optimo lightweight 28-76 mm T2.6 zoom lenses. The Canon cameras, supplied by PhotoCineRent/PhotoCineShop Paris, were purchased with Canon EF mounts. (The choice is PL or EF.) The Angénieux zooms therefore came with EF mounts. This is a well-known, but often-forgotten, feature of most Angénieux zooms: they have a “neutral” rear mount and can be fitted with PL, Panavision, Canon, Nikon and other mounts and adapters.
La Vie d’Adèle was directed by Abdellatif Kechiche. Sofian El Fani was the DP. Bertrand Etienne was Focus Puller/First AC.
Other films at Cannes that used Angénieux zooms:
- Inside Llewyn Davis. by Joel and Ethan Coen (cinematography by Bruno Delbonnel), won the Grand Prix du Festival and also used Angenieux zooms.
- The Immigrant. Dir: James Gray, Cinematographer: Darius Khondji (Arricam anamorphic)
- Wara No Tate / Shield of Straw. Dir: Takashi Miike, Cinematographer: Nobuyasu Kita (Arricam LT, Zeiss Ultra Primes, Optimo zooms)
- La Grande Bellezza / The Great Beauty. Dir: Paolo Sorrentino, Cinematographer: Luca Bigazzi (Arricam LT, 435, 535, 535B, Zeiss Ultra Primes, Angenieux Optimo Zooms Kodak Vision3 500T 5219)
- Grigris. Dir: Mahamat Saleh Haroun, Cinematographer: Antoine Héberlé
- Zulu. Dir: Jérôme Salle, Cinematographer: Denis Rouden (Arri Alexa Studio, Codex Arriraw, Hawk V-Lite, V-Plus, V-Series and Angenieux Optimo Zooms)
- Les Salauds / Bastards. Dir: Claire Denis, Cinematographer: Agnès Godard (Red Epic)
- Blood Ties. Dir: Guillaume Canet, Cinematographer: Christophe Offenstein (Arri Alexa Plus)