The widely read METRO press of Paris carried an intervew this morning with Isabelle Giordano, popular Parisian TV cinema commentator, regarding her view of the upcoming 60th edition of the Cannes Film Festival. In this report "Madame Cinema", as she is known to her fans, spoke of the ongoing TV series entitled "The year at Cannes Sixty Times" which she narrates, and of her own view of "the best forty years at Cannes". Excerpts from this preview-interview follow.

Q : Were it up to you to select the « forty best years » of Cannes for the TV program ?
A : I’m afraid not. Let’s render unto Caesar what belongs to Caesar. It was all set up by Bruno Roy, the program director. He chose all the archival footage and all I did was lend my voice for the narration. But I loved doing it, because I just love these archival images.

Q : What does the Cannes Film Festival mean to you ?
A : For me it’s the Big One. It’s not just the glamour and all of the hullabaloo, but also the discovery of new talent from far off places such as the countries of Africa and Asia -- at the same time a chance to discover film industries which are out of the mainstream.

Q : If you had to pick a single year as the most outstanding of all, which one would you pick ?
A : Well, I think that every year is important, but it’s the ten year anniversaries that kind of stand out from the rest. I especially recall the 50th anniversary, but every year is an occasion to celebrate the festival and to underline its importance for cinematic creativity.

Q : What was you own most memorable year ?
A : I guess I would have to say the fiftieth anniversary when there was the famous encounter between Francis Ford Coppola and Emir Kusterica, and Coppola failed to recognize him.

Q : If you could go back in time, is there a particular year you wish you could have been there ?
A : Well, of course, the first one ! (1946) -- Or 1968 when there was all that political commotion. (Note : In ’68 the festival was canceled after vehement anti-war and anti-government protests by prominent New Wave directors such as Godard and Truffaut.)

Q : Just recently the Golden Palme (main film prize) was awarded to Michael Moore for his (anti-Bush) documentary « Fahrenheit 9/11 ». Do you think that Cannes has become a political trampolin ?
A : This festival has always been very political, and not just in the case of Michael Moore. I was among those who thought it was a good thing to see this film take the top prize, even if it was a documentary, not a normal feature film. It’s good to see the festival renewing itself in ways like this.

Q : In what ways do you think the festival has evolved over the years ?
A : That’s an exremely broad question, but I would say that Cannes is a festival that has its ear tuned to the beat of the times. It pays its respects to established filmmakers, but, at the same time, the door is always open for fresh young talent.

Q : What are your expectations regarding this sixtieth edition of the festival ?
A : Mainly, that it looks forward to the future, rather than back to the past.

Translated from the French by Alex Deleon, Paris.