Cannes or Venice: Which Do You Prefer
Updated: 3 days ago

By Julie Sisk | June 9, 2026
I recently came across a lengthy online discussion posing this very question, and the responses were remarkably divided.
Those who favor Cannes point to its unmatched concentration of notable films, global industry influence, and role as the premier launchpad for cinema. Venice enthusiasts, meanwhile, make an equally compelling case, praising the festival's elegance, distinctive programming, and uniquely atmospheric setting.
What emerged from the discussion was a broad consensus: these are the two most prestigious film festivals in the world.
Yet they offer very different experiences. Cannes is defined by its energy, glamour, and position at the center of the international film business. Venice, by contrast, unfolds at a more leisurely pace, blending exceptional cinema with the romance of the lagoon and the timeless appeal of Italian culture.
Both festivals regularly premiere award-winning films and shape the conversation around the upcoming awards season.
To see how they compare, here's a side-by-side look at Cannes and Venice—and their respective track records when it comes to Oscar success:
Cannes Film Festival Wins | Venice Film Festival Wins |
Palme d'Or & Best Picture Winners | Golden Lion & Best Picture Winners |
• Anora (2025/2026 Oscar cycle) | • Nomadland (2020) |
• Parasite (2019/2020) | • The Shape of Water (2017) |
• Marty (1955) | • Hamlet (1948) |
• The Lost Weekend (1945) | • The Lost Weekend (1945) |
Top Prize Winners with Other Major Oscars | Top Prize Winners with Other Major Oscars |
• Poor Things (2023) — Best Actress | • Poor Things (2023) — Best Actress |
• The Pianist (2002) — Best Director, Actor | • Joker (2019) — Best Actor |
• Pulp Fiction (1994) — Best Original Screenplay | • Roma (2018) — Best Director |
• All That Jazz (1980) — Best Art/Costume | • Brokeback Mountain (2005) — Best Director |
• Apocalypse Now (1979) — Best Cinematography | • Rashomon (1950) — Best Foreign Film |
• The Tin Drum (1979) — Best Foreign Film | |
• Black Orpheus (1959) — Best Foreign Film | |
Festival Premieres with Major Oscars | Festival Premieres with Major Oscars |
• Anatomy of a Fall (2023) — Screenplay | • Birdman (2014) — Best Picture |
• Drive My Car (2021) — International Feature | • Spotlight (2015) — Best Picture |
• Inglourious Basterds (2009) — Supporting Actor | • La La Land (2016) — Best Director |
• No Country for Old Men (2007) — Best Picture | • Gravity (2013) — Best Director |
Clearly in terms of critical success, both festivals consistently produce their share of winners. The difference often comes down to timing, budgets, and the preferences of filmmakers themselves rather than the expertise of the selection committees.
For audiences, however, the distinction is more about atmosphere. Are you drawn to the business of film—the deals, acquisitions, and high-stakes negotiations that unfold along the Riviera? Or do you prefer Venice's more relaxed rhythm, where cinema is woven into the romance and beauty of "la dolce vita?"
The truth is that both festivals are extraordinary. Choosing between them feels a bit like choosing a favorite child. And with Cannes is now in the rearview mirror, I find myself already looking ahead to Venice.
Fortunately, I don't have to choose. Nor do you.
And speaking of festivals that deserve a place in the conversation, I recently learned that Obsession has become the highest-grossing festival acquisition of all time. And, it didn't emerge from Cannes or Venice—it premiered at the Toronto International Film Festival. A reminder that while Cannes and Venice may dominate many discussions, Toronto remains possibly the most influential and important film festival in North America.
With love of cinema,
– Julie




