At the heart of the 65th edition of the Semaine de la Critique, a parallel section of the Cannes Film Festival, AMI Paris returns to the Croisette with an event that goes beyond the mundane celebration and fits, rather, into the Festival’s broader narrative: one dedicated to new looks at contemporary cinema. The occasion is a luncheon organized for the AMI Paris Grand Prix, hosted at Fred L’รcailler, one of the city’s historic addresses, transformed for an afternoon into an international salon of creatives, actors and directors.
An intimate moment, suspended between informal conversations and shared visions, which confirms the role of the Semaine de la Critique as a privileged laboratory for the discovery of new talents and new narratives.
Doing the honors was Alexandre Mattiussi, founder and creative director of AMI Paris, along with Ava Cahen, artistic director of the Semaine de la Critique. Surrounding them was an international parterre reflecting the transversal nature of the event: Demi Moore, Stellan Skarsgรฅrd, Isabella Ferrari, Ruth Negga, Alessandra Mastronardi, and Liya Kebede, as well as members of the 2026 jury including Thรฉodore Pellerin and Oklou and the directors competing in the feature and short film categories.
More than a lunch, a meeting that returns the idea of a cinema under construction, where the value lies in the glance that comes before recognition. AMI Paris, a maison founded in Paris in 2011 by Alexandre Mattiussi, fits naturally into this context. The name itself already tells a direction: AMI, which means “friend” in French, also stands for the designer’s initials. Since its inception, the brand has been building a men’s and women’s wardrobe that combines simplicity and structure, elegance and functionality, with a direct and deeply human approach.
The underlying idea is that of a luxury that does not impose distance, but relationship: an everyday refinement, recognizable in its essentiality and its typically Parisian balance. An aesthetic that never seeks excess, but naturalness, the same that AMI Paris seems to find in its continuous dialogue with cinema and those who create it.
[๐ธ Snapix]
