A weekly look at what matters in Brussels and across Europe with Maria Tadeo.
 ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏  ͏ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­  

View in browser   ·    Manage your newsletters

May 23, 2026

Welcome back. This newsletter will be more cinematic than usual.


Tomorrow, the Cannes Film Festival will announce the winner for the Palme d’Or. This year, there is no obvious frontrunner and the mood has been combative, with press conferences — rather than the glamour of the Montée des Marches — becoming the festival’s centre of gravity. Forget the glitz of the red carpet; it’s all about politics.


And that is because film is art, and art is always political. Film shapes culture, and culture frames political discourse. Don’t just take it from me; listen to the brilliant South Korean filmmaker Park Chan-wook, director of the wonderfully funny and sinister No Other Choice, at the opening press conference of the festival.


“I don’t think politics and art should be divided. It’s a strange concept to think they are in conflict with each other. Just because a work of art makes a political statement, it should not be considered an enemy of art. At the same time, just because a film is not making a political statement, it should not be ignored," Chan-wook, who is also leading the jury at Cannes, said.


He also said something that got me thinking: when art is placed at the service of politics, the risk is that it becomes propaganda. Politics under an artistic façade was very much at the centre of the festival after a group of 600 industry professionals — from actors to producers to set designers — published a manifesto in the French daily Libération expressing concerns about their grand patron, Vincent Bolloré, and his growing influence on the media landscape.


Bolloré is the owner of Canal+, France’s biggest financing studio. 


The manifesto suggested that leaving "French cinema in the hands of a right-wing owner (risks) a fascist takeover of the collective imagination". In response,  Canal+ said it would no longer work with the signatories, calling it an insult to its decade-long financing of the country's largest and, it argued, most diverse film portfolio. The polémique set the festival ablaze, with politicians jumping in. In an interview with Euronews, European Commission Vice-President Henna Virkkunen told me that Brussels is “deeply committed to freedom of speech” in the European arts. But it also revealed something more profound.


There is a growing uneasiness about talking politics at film festivals, reflecting partly a shift in cultural dominance away from progressive ideas, but also the precarious nature of its business model. Film has been dislocated by streaming, and studios, production companies and platforms are consolidating to cut costs and improve their balance sheet. The result is an industry that is shrinking and a concentration of ownership, often with links to tech billionaires.


If you ask me, how political should a festival be? The answer is simple, very. An actor should and must be able to talk politics, because it is a reflection of the zeitgeist. Don’t take my word for it; just look at the films in competition: Fatherland, Minotaur, Fjord, Coward...


Spanish filmmaker Pedro Almodóvar, whose film Amarga Navidad is in competition for the Palme d'Or and is adored in France, said he “doesn’t judge” those who prefer to stay silent, but insisted that the industry has a duty to society. The trickle-down effect of silence and self-censorship is pervasive and ultimately detrimental to democracy. 


In his press conference, Almodóvar referred to “Trump, Netanyahu, and the Russian one" as monsters, and argued that Europe should be a shield, not a vassal, to the "delirious mind" of the US President to applause from the audience. You may agree to disagree, but it matters that he said it. His countryman Javier Bardem also called out what he described as a "my c**k is bigger than yours" shift in geopolitics, perpetuating "f*****ing toxic masculinity".


Perhaps as an act of defiance, the Spanish epic gay drama inspired by the work of poet Federico García Lorca, La Bola Negra, received the longest ovation of this edition — a full 20 minutes. “We will never give up our rights,” declared one of its directors, Javier Ambrossi. Where else but Cannes Film Festival do you get a moment like this? The festival itself was conceived in 1939 to counter the growing influence of the fascist apparatus under Mussolini over the Venice Film Festival.  


It is not lost on me that some of these protests are coming from actors staying at a luxury suite at the Hôtel Martinez, and their films often exist because of the very same people they call fascists, and public money. Still, it is important that these conversations take place, and that they can happen without fear. Europe without its artists would not be Europe.


​​As always, if you have any comments, email me at maria.tadeo@euronews.com.


— Maria Tadeo

 

Meloni sends a letter unleashing old demons  

Italian Prime Minister Giorgia Meloni is not happy with Ursula von der Leyen.


The Italian government sent a formal letter this week to the European Commission urging Brussels to treat the energy crisis as a real emergency. Beyond introducing minor flexibilities and rehashing old measures, it has called on member states to cut taxes on energy to ease the burden on consumers. Rome feels the Commission has done next to nothing to cushion the impact of three months of surging energy costs. 


Since US strikes on Iran started in late February, gas prices have risen by 50% and oil has jumped by around 65%, according to the Commission’s own estimates. For a country like Italy, with a large manufacturing economy, that can be devastating in the long run. Contrary to what some might think, Italian SMEs are among the strongest performers in Europe and are closely integrated with German industry. But unlike Berlin, Rome does not have the budgetary space to secure energy at any cost. That is also because the Italian government is seeking to reduce its deficit and large debt pile with an eye on financial markets.


Every Italian prime minister worries about the impact of bond vigilantes — the idea that in adverse financial conditions, investors may target Italy as the weakest link, push borrowing costs up, and ultimately force a change of government, in the same way markets helped push Silvio Berlusconi out.


For Meloni, who has benefited from significant leeway from investors during her premiership as markets have rewarded her degree of stability, the issue is also political. In 2027, she will be running for re-election, and she knows a campaign centred around caro vita, caro-energia (high cost of living, high energy prices) could cost her majority.  The problem for Meloni is that her hands are tied; any meaningful relief on the energy front can only come from Brussels.


Commission figures see the Italian economy growing by only 0.5% this year, weighed down by the energy shock triggered by the Strait of Hormuz closure. The country’s debt is expected to reach 139% of GDP in 2027, and in order to exit its excessive deficit procedure after breaching the 3% deficit ceiling, Rome will have to tighten its belt. Meloni cannot spend her way out of the energy crisis. The fact that interest rates are sharply higher than during the 2020 pandemic, or even the 2022 Russian gas shock, does not help her case either.


That also explains her letter's tone — fiery, by diplomatic standards. 


When governments leak their private communications to the Commission, the goal is clear: to signal that backchannel diplomacy has not sufficiently addressed their concerns, and that they are prepared to take their fight into the public arena to get what they want. In her letter, Meloni argued that tackling the energy crisis is just as important as building Europe’s defence and security.


On that basis, if the Commission is willing to carve out defence spending from deficit calculations, it should also do the same for energy measures. That is something Brussels has so far resisted, while pushing for targeted national measures.  The Commission argues that Meloni cannot get what she wants — a blanket exemption for energy — because the macroeconomic situation has not deteriorated so severely as to warrant it. The Italians argue that the Commission should not wait for a recession; it should put in place measures to avoid one.


If she does not get relief on energy, Meloni also suggested that Italy would be forced to skip a major defence programme put forward by the Commission to rearm Europe. In political terms, that is a serious escalation. 


But Brussels should handle this carefully. Antagonising Giorgia Meloni, who has proven a useful ally, would be unwise. And the Commission could end up amplifying a conversation that is already permeating Italy’s power circles. If it is a question of complex supply and pricing, why not turn to Russian energy? After all, the Americans have extended a waiver on Russian oil at sea, and the UK has watered down some of its own restrictions (London insists it is not a waiver).


It is no secret that part of Italian industry would welcome, to put it in polite terms, an easing of sanctions if that lowered production costs. The same applies to parts of the Italian government itself, including the Lega group led by Matteo Salvini, who has shown a fascination with Russia and would also welcome a return to business ties. Notably, Salvini and much of Italian heavy industry share roots in Lombardy in the north of the country.


This week, I sat down with Economy Commissioner Valdis Dombrovskis, who told me the EU will not ease sanctions on Russia, calling Russian gas a “tool for strategic manipulation and blackmail”. When I asked whether he feared member states would begin to lobby for a reversal, he shut down my question entirely, saying there is no going back to Russian energy; it is a strategic decision.


Two things can be true at the same time. A return to Russian energy would be a political and moral failure for the European Union and would dismantle its entire “Stand with Ukraine” strategy. 


But come Christmas, Europeans have to heat their homes, and factories have to stay running. Made in Europe cannot compete with the US and China while facing double the energy costs. The EU managed to diversify and unplug from Russia, but it came at a cost. Plans to go bigger on renewables to produce green energy sound great on paper, but as it stands today, they do not provide the energy security a continent of 450 million people needs.


Meloni is putting her interests first, but she has also exposed the fragility of the broader system. Brussels should think carefully and give her some slack.




About this ad