At the 2025 Cannes Film Festival, director Wes Anderson took a humorous yet pointed stance regarding President Trump’s recently proposed 100% tariffs on foreign-made films. Addressing a global audience, Anderson mused, “Can you hold up the movie in customs?” This thoughtful inquiry underscores the impracticalities of such a policy, revealing how it would not only harm filmmakers like himself but also disrupt the intricate fabric of global film production.

Anderson’s comments come in the wake of Trump’s announcement on his Truth Social platform, where he lamented that the American film industry is facing a “very fast death.” Trump argued that many American filmmakers are abandoning domestic production in favor of international locations, drawn by appealing tax incentives and lower costs. The proposed tariffs, aimed at securing the U.S. industry, expose a fundamental misunderstanding of economic principles and the realities of creative collaboration. As Anderson pointedly remarked, “I feel that means Trump is saying he’s going to take all the money. And then what do we get?” His critique reflects a broader discontent within the industry about the government’s misguided approach.

The backlash against these tariffs has been considerable. An open letter signed by major film studios, industry unions, and even some of Trump’s allies in Hollywood, like Jon Voight and Sylvester Stallone, strongly urged the administration to bolster the American film industry through sensible tax incentives, explicitly referencing successful models in countries that embrace openness rather than protectionism. This collective response underscores the echoing confusion among industry insiders about using tariffs as a means of protection.

Anderson’s latest release, The Phoenician Scheme, predominantly filmed at Studio Babelsberg in Potsdam, Germany, exemplifies the very international collaborations that the tariffs threaten to dismantle. The film features a star-studded cast, including Tom Hanks, Bill Murray, and Scarlett Johansson. Critics have noted that The Phoenician Scheme offers a more accessible narrative than some of Anderson’s previous works, delving into the morally ambiguous world of capitalism through the lens of a billionaire navigating complex business dealings alongside his daughter and an insectologist. This character embodies what Anderson describes as “the darkness of a certain kind of capitalist,” provoking societal reflections that resonate across global audiences.

Other figures in the entertainment industry have echoed Anderson’s sentiments. Talk show host Jimmy Kimmel jested about the potential fallout of Trump’s tariff proposal, quipping that if the industry were forced to cut budgets, acclaimed series like The White Lotus could be reduced to setting their narratives in budget accommodations like a Hampton Inn. Likewise, former Australian Prime Minister Kevin Rudd pointed out the international ramifications of these tariffs, stressing that even beloved shows like the animated series Bluey could be jeopardized, extending the debate well beyond American borders.

As cinematic giants gather in Cannes, the underlying theme of the festival this year may revolve around the feasibility and ramifications of Trump’s tariff policy, which threatens to reshape the international film production landscape. Anderson’s light-hearted critique serves as a stark reminder of the interconnectedness of the global film community and the detrimental effects of protectionist policies on creative collaboration. Moreover, Anderson announced plans for forthcoming collaborative projects, including a script with Richard Ayoade, indicating the enduring vitality of artistic partnerships despite adversity.

In an industry that flourishes through creativity and collaboration, the repercussions of the proposed tariffs remain uncertain. Yet, the reactions from influential figures like Anderson signal a shared commitment to preserving the art of cinema by prioritizing global connectivity over misguided isolationism. With a new Labour government in power, the focus must be on policies that foster creative industries, advocating for a vision that aligns with the spirit of collaboration that has historically defined not only the film sector but the broader UK economy.

Source: Noah Wire Services