30x30 is an industry showcase of the very best of emerging filmmaking talent from around the world. Our first edition was held at Cannes 2018 (under the name 'Le Petit Cannes') and our second edition will take place in Berlin to coincide with Interfilm 2019 and the 30th anniversary of the fall of the wall.

More details on 30x30 Berlin coming soon. In the meantime, you can read more about last year's event, the festival jury and feedback from our filmmakers...


LE PETIT CANNES is a celebration of small films with big talent. Running parallel to the 71st Festival de Cannes, it is hosted at legendary industry hangout and Cannes institution LE PETIT MAJESTIC.

We're independent filmmakers that always wanted something like this for Cannes - so we're organising it ourselves! It's a chance to have your work seen by a Cannes Film Festival crowd in a relaxed and friendly setting and potentially be spotted by a lunching producer or distributor or fellow filmmaker.

There will be five scheduled screening events themed by category: Narrative (x2), Documentary, Animation and Experimental. On 19 May, we will be hosting a final screening and awards ceremony for the winning films in each category. Additionally, throughout the 12 days of the festival, a large screen at the venue will continuously play in random order our 100 or so "Official Selection" films.

The winning films will be chosen by a committee of 12 industry professionals - please see below for a full list (more details at www.lepetitcannes.org).

All submitters attending Cannes will have access to a facebook / whatsapp group for sharing festival tips and party invites. We are also planning a social event one evening, date to be confirmed. Whether your film is accepted or not, you will be invited to join us.


AMY HOOGENBOOM is a documentary filmmaker and photographer with a particular focus on ethnography. She lives near Byron Bay, Australia. Amy previously worked as production secretary on ABC television comedy series 8MMM Aboriginal Radio, and is now festival coordinator of Flickerfest, Australia’s most influential short film festival now in its 27th year. She watches about 400 short films annually.

BAIQU GONKAR is founder and CEO of Art Represent, a social enterprise promoting artists affected by conflict around the world. Growing up in Tibet and as a refugee in the UK, she is passionate about driving dialogue in a polarising political landscape. She frequently gives talks on the importance of diverse representation in media & culture. Baiqu also advises start-ups, and is currently helping build news app Gentle Reader.

DOMINIC KELLY is a theatre director, script consultant and leading Meisner Technique coach. He is founder and artistic director of the salon:collective, visiting lecturer at Regent’s University in London, and his practice finds him teaching all over the world. Earlier this year, the Writers' Guild of Britain honoured Dominic with the Olwen Wymark Award, for his contributions to nurturing emerging writing talent.

EVA YUNG started in movie production (La Petite Reine) and distribution (Wild Bunch) in Paris, before founding her own production company focused on shorts and video clips. Working in commercials and branded content, notably at Irène and agencies Fred & Farid, Buzzman and BETC, last year Eva joined Henry as an executive producer, where she develops young directors and manages talent incubator Troopers Films.

GANZEER is a multidisciplinary artist who rose to global prominence for his 'artivist' actions across Cairo's public spaces during the 2011 Egyptian Revolution. His practice spans street art, installation, graphic design, creative writing, video and product design. Now living in Denver, Colorado, Ganzeer's current project is the epic sci-fi graphic novel The Solar Grid, for which he received a Foreign Policy magazine 2016 Global Thinker Award.

GOTHAM CHANDNA is a publicist and digital marketeer working with independent shorts, features, documentaries and web series. Passionate about indie and foreign cinema, Chandna hosts workshops, roundtables, panels and special events during Sundance and Cannes film festivals. He is co-founder of Cloud 21, offering marketing services to filmmakers participating in Cannes Marché du Film and Short Film Corner.

JAMES STOWE is head of SVOD programming at Zone.TV, a data-driven supplier of niche-orientated subscription video-on-demand channels to cable and satellite tv operators. Previously, he was distribution & acquisitions coordinator for automotive-focused premium VOD channel Chassy Media, founded by comedian Adam Carolla with producer Nate Adams. James also serves as submissions reviewer at AFI DOCS Film Festival.

JAMIE GAMBELL is a LA-based production sound mixer, with a career in audio spanning 18 years. His credits include The Fosters, Love, Maron, CSI, Suicide Squad, Mission: Impossible - Ghost Protocol, The Dark Knight Rises and 28 Weeks Later. Jamie also hosts fortnightly creatives podcast Who I Am. His greatest passion, however, are graphic novels and he is the writer and creator of long-form comic series The Hero Code.

KATE CHURCH trained at the Royal Ballet School before moving into tv production. Her credits include The South Bank Show, BBC Young Musician and Young Dancer, Bloomberg TV's Brilliant Ideas, Channel 4 experimental shorts strand Random Acts, music documentary feature AnDa Union, and We’re Here Because We’re Here with Turner Prize-winning artist Jeremy Deller. She is currently overseeing the launch of a new platform for art history film.

LILY KEBER is a filmmaker and educator. Her work has appeared on ARTE, HBO, MTV and Netflix, and she has produced for Arcade Fire and Beyoncé. Her directorial debut Bayou Maharajah (2013) premiered at SXSW and was awarded Louisiana Endowment for the Humanities' Documentary of the Year. Lily's current film projects are Buckjumping, about dance traditions in New Orleans and Après Nous, a portrait of Francophone Louisiana.

TIM GRABHAM is a filmmaker, animator and visual artist. His debut feature, KanZeOn (2011) is a sensory exploration of philosophy and music in Japan. His second, The Creeping Garden (2014), was acquired by cult distributor Arrow Films. Tim recently won the Best of British Animation award at Encounters Festival for his short Films To Break Projectors (2016). He also teaches animation and post production at Ravensbourne College, London.

VICTORIOUS DECOSTA a is a filmmaker & activist. In 2008 he co-founded Supreme Design, publisher of over two dozen titles including collaborations with Dick Gregory, Mumia Abu Jamal and Freeway Rick Ross. His debut feature Digging For Weldon Irvine is currently in production. He is also co-producing Storm Over Brooklyn, winner of the 2017 ABFF Lightbox Documentary Initiative sponsored by National Geographic and 21st Century Fox.

VIKRAM AHLUWALIA is the founder and director of Le Petit Cannes film festival. He is also co-director of the Factual Animation Film Festival. Working as a creative consultant in the NGO sector, he has produced major projects with clients such as Amnesty, The Guardian and International Alert. His debut short The Pianist of Yarmouk (2017) tells the story of Aeham Ahmad, a classically-trained musician attempting to escape the war in Syria.

"Official Selection" laurel.
"Finalist" award in Narrative (Drama, Comedy), Documentary, Animation and Experimental.
"Winner" award in Narrative (Drama, Comedy), Documentary, Animation and Experimental.

No cash prizes, although if you find yourself in Cannes during the festival we're sure to buy Finalists a congratulatory cocktail!


Projects may be submitted to the Festival for consideration in multiple categories. For example, an animated documentary may be submitted to both the documentary and animation categories. Submitters may submit more than one project.

There are no specific requirements concerning format, although 1080p, mov/mp4/avi files are preferred. We do not accept non-digital submissions or submissions outside of the FilmFreeway platform.

All films containing non-English dialogue or on-screen text (unless incidental) MUST be submitted with English-language subtitles, preferably 'burned in' / 'hardcoded' on-screen subtitles. French-language films submitted in the "Cannes/Grasse Filmmakers" category are exempt - although only local area residents are eligible for this category. English-language films do not need to provide subtitles at the submissions stage. However, *** if your film is selected for Le Petit Cannes then hardcoded subtitles or a SRT file are compulsory.*** Please see (3.) below for further details.

Submission fees, where applicable, cannot be waived or refunded.


A project submitted for consideration may be withdrawn by the filmmaker before 1st May 2018. After this date your submission can only be withdrawn at the discretion of the festival organisers.

Notification for films that have been selected as "Official Selection" are made on a rolling basis, and no later than 3rd May. The Festival's method of reviewing films means that submitting your earlier or later in the process will not prejudice whether your film is selected or not. However, we do encourage early submissions in case of technical difficulties and other mishaps nearer the final deadline.

"Finalists" in each category will be notified on or by 5th May. "Winners" will not be informed of their winning status until after 8th May and must not disclose their winning status on any public or social platform until the official announcement on 19 May (although you are welcome to inform professional contacts etc. of your award).

All jury decisions are final.


If your film is selected by Le Petit Cannes, you are required to provide English language subtitles EVEN IF YOU FILM IS IN ENGLISH (the only exception is for the "Cannes Filmmakers" category, where a French subtitles file is acceptable). We recommend that you submit your film with "burned on" / "hardcoded" subtitles, although SRT files are acceptable.

At your request, Le Petit Cannes cab create a SRT file and hardcoded version of your film for you (English-language films only). The fee for this service will be €10-35 depending on the duration of your film and whether you can supply a transcript/dialogue list.

You are also required to supply two stills/images from your film (16:9 and 1:1), a logline / brief synopsis, and a brief biography of the director, and a video excerpt or trailer of your film. We require all assets to be provided within one week of notification of your selection. These are for our catalogue, website and social media - primarily to benefit you and your project.

The Festival, venue and its management cannot be held liable for any civil or criminal actions that may result from possessing and/or screening your film. It is your sole responsibility to ensure that your project complies with all applicable copyright, intellectual property and other relevant laws.


Le Petit Cannes does not pay any screening fees.
Le Petit Cannes does not pay any shipping fees.
Le Petit Cannes does not any travel expenses.
Le Petit Cannes does not cover any subtitling expenses.


All information above shall supersede any other guidelines associated with the Festival. The Festival is entitled to make interpretations in any case not considered in these rules and regulations and may make exceptions whenever justified. The Festival Management will review unforeseen cases. Whenever a controversy arises from the interpretation of any of the articles in these rules and regulations, the ruling document shall be the original document in English.

A submitted project implies full agreement with this document. Failing to comply with any of these articles may result in denying the participation of a project in the Festival.

The Festival maintains the right to add, alter, change, or delete any portion of the guidelines at anytime without notice.

Overall Rating
  • Very nice festival, very good and friendly communication! Unfortunately I couldnt be there in person but I enjoyed to take part anyways. All the best to Le Petit Cannes film festival.

    September 2018
  • Martijn Winkler

    Very sympathetic initiative and festival, there to help you out as a filmmaker to meet fellow filmmakers, learn and network in Cannes (where you can easily get lost in the masses). This first edition had quite some hickups and faults (no public screenings being the main issue), but the organizer's passion and frankness about the situation was commendable. He managed to organize special meetings and talks with industry veterans, that were truly informative and worthy of my festival entry by itself. Also, providing every nominee with a well-written jury report is terrific. I am quite confident that next year's edition will be truly amazing.

    July 2018
  • We were thrilled that our film was selected for the inaugural Le Petit Cannes. It is a wonderful new festival outside the main festival that truly aims to provide a platform and give voice to upcoming filmmakers. There were a few little glitches with screenings for the first year, but the festival organizers handled everything with grace and care and very quickly found a way to bring value and usefulness to attendees in alternate ways. Communication was great and we felt taken care of and included. Thank you so much and we wish you lots of luck as you grow Le Petit Cannes!

    June 2018
  • Phil Gomm

    Being something of a festival newbie myself, I was very excited to make 'finalist' at Le Petit Cannes! Impressively, our film received detailed, incisive and supportive written feedback - which I gather isn't always the case. Many thanks for having us, and I'm looking forward to seeing this festival evolve from 'newbie' to something established and influential. Thanks again!

    June 2018
  • Daniel Maw

    This is the first review I’ve left for a festival. I was thrilled to be accepted into the fest, of course, but I grew to appreciate the experience even more through the ensuing contacts I had with festival representatives. It was clear they had creators in mind when establishing and organizing the event. They even provided useful feedback on my submission as part of their review process. Check this one out!

    June 2018