Director: Lily Hayes Kaufman
Running Time: 89 Minutes
Founded in 1974 by Lloyd Kaufman and Michael Herz, Troma Entertainment is the world's longest running independent film studio. Through their B movies, the studio has made a name for itself with low budget works that are determined to be original, made safely, and stand out from the pack (even if they admit to having little interest in sanitation.) They have regularly attended the prestigious Cannes Film Festival to champion independent cinema, but their passion has not stopped them from being at risk of going extinct.
While Cannes is an important location for filmmakers to do business by getting buyers interested in their movies, there has been a noticed disparity in opportunity between independent and Hollywood films. With footage recorded from 2013, Occupy Cannes shows the Troma team intent on selling their then-latest production, Return to Nuke 'Em High Volume 1. Through their "Occupy Cannes" movement, the team are intent on showing that independent cinema can succeed in the face of overwhelming odds.
Directed by Lily Hayes Kaufman, daughter of Lloyd Kaufman, this cinephile story of David and Goliath is compellingly told throughout, with utter heart and a sense of fun throughout. The uphill battle is evident from the moment the team arrive at Cannes, where they see massive posters of blockbusters with starry names attached. This emboldens the Troma team to do what they can on a small budget, as they resort to getting the word out about their film via guerrilla tactics.
In a landscape where all eyes are on Hollywood, it is exciting to see these scrappy outsiders trying to get themselves noticed. A large part of their attempts involve wacky publicity stunts, whether it is a bizarre tribute to the recently deceased Roger Ebert, or a fun zombie march. Each attempt shows their outsider vision working in real time, yet it also attracts police officers trying to shut them down. The numerous pushbacks from police feel increasingly personal, something that Lloyd and the Troma team believe are due to protecting the interests of financial powerhouses.
It is worth mentioning that resonant points are made by the team in the wake of their arrest threats, although one must admit that moments appear when the Troma team are in the wrong. The public indecency is the main instance, and it feels like the subjects are not held accountable enough for these wrong-headed attempts at promotion (although the excessive force utilised is disgusting.) This feels part of another issue, one which is addressed openly, in how this is not a neutral documentary. While there is no avoiding some of the company's setbacks, including the repercussions Troma faced for previous attention-grabbing attempts, or questioning if Lloyd self-sabotages things to maintain feeling like an outsider, that does not stop how overly referential this documentary can feel.
As the team face numerous setbacks, they try brainstorming how to overcome each newfound obstacle to continue promoting their film. It is inspiring to see such creativity in motion when facing overwhelming oppression, something that effectively reflects how Troma tries surviving in a changing distribution market. As trite as it may seem, the key element to it working is the makeshift family united by their unabashed love for Troma. Everybody joins in to help however possible, because their desire to see independent filmmaking succeed drives them forward within a seemingly hopeless landscape. It all makes for a compelling documentary in Occupy Cannes, which serves as a love-letter for DIY filmmaking.
Occupy Cannes made its World Premiere at Fantasia Festival 2025
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