Cannes countdown: Will the real 'Queen of Cannes' finally show up?From Shobhaa De’s 'Cartoon Network' critique to the missing majesty of Aishwarya Rai, Cannes 2026 is a whirlwind. Is it high fashion or just high drama?
And then, there is the giant, emerald-shaped hole in the schedule: Aishwarya Rai. The ‘Cartoon Network’ remarkColumnist Shobhaa De rarely pulls her punches, and her new Cannes 2026 op-ed has set social media ablaze. Slamming the Indian contingent for turning the Croisette into ‘Cartoon Network’, Shobhaa spared no one. She took aim at ‘garish sarees’, ‘ill-fitting studded tuxedos’, and content creators dressed more for a ‘Garba night in Ahmedabad’ than a gala in France. While Shobhaa’s critique might sound elitist to some, it touches on a growing tension at Cannes: the shift from cinema-first to content-first. With ‘influencers’ now outnumbering actors on some carpets, the ‘fancy-dress’ vibe Shobhaa detests is the byproduct of an era in which viral Instagram Reels are worth more than standing ovations at the Lumiere Theatre.
The style standouts (and the scrutinised)Despite the ‘tacky’ label being thrown around, several Indian faces managed to marry tradition with global chic. Alia Bhatt, the L’Oréal global ambassador, arrived as a Disney princess in a dreamy ballgown, later switching to a peach-toned couture piece that featured a delicate chiffon dupatta. Aditi Rao Hydari pivoted this year into a neon green Tony Ward gown. It was sculptural, futuristic, and — judging by fans’ ‘wow’ reaction on Instagram — a total win. In a move that perhaps countered Shobhaa De’s cynicism, actor Disha Madan wore a sustainable ensemble crafted from 80-year-old heirloom sarees. From Ruchi Gujjar’s ghunghat outfit to Roopi Gill’s ivory suit, the red carpet was a kaleidoscopic, if somewhat chaotic, representation of Indian identity. Where is the ‘OG Cannes queen’?While Tara Sutaria dazzled in Vivienne Westwood, Diana Penty was ‘dipped in Indian gold’, and Huma Qureshi brought fire in a bold black gown, the question remains: Where is Aishwarya Rai? The actor has walked the Cannes red carpet for over two decades. She is the bedrock of the festival’s Indian identity. When she was omitted from L’Oréal Paris’s 2026 campaign video earlier this month, the internet went into a tailspin. Is the 20-year partnership over? Is she living under a rock? Insider reports and L’Oréal clarifications suggest that Aishwarya isn’t retiring her crown just yet. Rumours are swirling that she might be saving her appearance for the closing ceremony this weekend. Perhaps the ‘queen’ prefers a grand finale over a crowded opening?
The cinema: more than just clothesBeyond the sequins and the social media posturing, India’s cinematic footprint at Cannes 2026 is arguably its strongest in years, dominated by powerful regional voices. While the red carpet often sucks the oxygen out of the room, the screening rooms have been humming with a different kind of electricity. This year, the focus shifted from Bollywood blockbusters to a more decentralised Indian landscape, proving that the country’s artistic muscle extends far beyond Mumbai’s borders. From the restoration of parallel cinema classics to the gritty realism of contemporary regional dramas, the 2026 selection reflects an India that is technically proficient and narratively daring. It is a reminder that while fashion is a fleeting performance, cinema remains a permanent record, and this year, the record is particularly rich. The Indian selection this year is anchored by the prestigious Cannes Classics section, which features a stunning 4K restoration of filmmaker John Abraham’s 1986 Malayalam cult masterpiece, Amma Ariyan. In the competitive La Cinef section, Mehar Malhotra, a student from FTII, has made waves with her Punjabi short, Shadows of the Moonless Night. Director Amarjit Singh Saron presented Chardikala, a high-stakes Punjabi drama starring Ammy Virk and Roopi Gill. Following the massive success of Manjummel Boys, director Chidambaram returned with Balan: The Boy, a poignant Malayalam tale of a teenager’s search for his mother. Perhaps most significantly, Payal Kapadia — the 2024 Grand Prix winner — made history this year as the first Indian to head the Critics’ Week jury, signalling that India’s influence at Cannes has evolved from being an invited guest to a defining voice in the festival’s leadership. Is Cannes 2026 ‘Cartoon Network?Perhaps in parts. When ‘influencers’ share the stage with the ghost of John Abraham’s cinema, the contrast is jarring. But it is also a reflection of a modern India — loud, diverse, slightly disorganised, and unapologetically global. Whether Aishwarya appears in a shower of confetti on May 23 or stays home to enjoy the peace, Cannes 2026 has proven that India no longer needs a single representative to make a splash. We have the films, we have the ‘garba nights’, and we definitely have the conversation. Now, we just need to see if the ‘OG Cannes queen’ shows up to give the closing remarks.
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