You have seen the stars and red carpet glamour of the Cannes Film Festival through the lenses of photographers, TV cameras and mobile phones. Now you can get a backstage look at the life and not always so glamorous work of one of the hard-working red carpet photographers in the new documentary A Photographer in Cannes, which world premieres in the Special Screenings program of the 30th edition of the Tallinn Black Nights Film Festival (PÖFF) in Estonia.
Fitting the premiere location, the man taking the spotlight, while at the same time snapping pictures of the celebrities in it, is none other than Erlend Štaub, Estonia’s man on film festival carpets – both red, such as at Cannes and Berlin, or black, in the case of PÖFF. In fact, he has been the official photographer of the Tallinn Black Nights Film Festival for several years.
A Photographer in Cannes comes from director and cinematographer Kullar Vilmne, who co-wrote the film with editor Erik Norkroos. The doc shows Štaub spending his days at exclusive parties, wild concerts and other events in Estonia, socializing and taking pictures, and spending his nights working on the photos to deliver them to the next morning. It also goes into the physical fitness, mental toughness and social skills needed to become a fixture of the world of glitz and glam. It is only fitting that the film also takes audiences to Cannes, which the veteran has attended for 15 years in a row, showing Štaub in his element on the red carpet and behind the scenes, where he is also shown running into Bella Hadid.
Štaub took time out of his busy schedule to talk to THR about A Photographer in Cannes, share tips for aspiring photographers, discuss one of his favorite celebrity encounters at Cannes 2026 and which stars he would love to photograph in the future.
How did Kullar, the director of the documentary, approach you, and what did you think when he told you he wanted to make a film about you?
First, I laughed loudly. Kullar texted me at six in the morning. I wrote him back, and I said it was not a good idea. And he told me, “Just listen to me. Let’s meet, and I’ll explain everything.” So, we met, and I listened to his idea. And I realized that the things that I’m doing are unbelievable to others. So, I said, “Okay, no problem. Do what you do, and I can help if you need help.”
In your work, you are usually the person behind the camera. How was it to be in front of a camera, and did that affect your focus?
When I’m working, I’m always focused, and I don’t notice anybody else – I only see the people of whom I want to take a picture. So, I didn’t have a problem with it.
How did the director get access with his camera to film you at Cannes? Did you have to help with that, and what was Cannes’ reaction?
My relationship with the Cannes festival is very, very good. I really appreciate what they are doing for me because Estonia is a very small country, and they have allowed me to take pictures on the red carpet along with the very good American photographers and France’s super photographers [and others].
The festival and I work together very well. I always have some kind of little present for them, and I really appreciate them. This time, I got my accreditation for the red carpet, which is good for 13 days [or so]. But filmmakers need to get a new red carpet accreditation every day. We told them about the project, and they are just such cool guys. We asked if it was possible to put a camera in [this and that spot], one behind me and one in front of me. And they [made it happen]. It was amazing. They are great guys and really helped the team and me.
The film shows you exercise and work out. How important is physical fitness for your work?
It’s very important because this is stressful work, so your physical shape needs to be strong, like a military person. The pressure is so high, and I’m just afraid that maybe I’m going to die on the red carpet [if I am not in good shape] because there are too many things going on. Thank God I have my little gym room at home.
If a young person says, “I want to become a photographer,” especially for red carpets, do you have any advice or tips?
First, don’t try to be anybody else. That is really important because you have your own business and your own personality, and people love that. It’s very funny because I think I’m crazy, I’m not a normal person. But people love [personality]. So, be yourself! People love that.
Do you have any stories about your personality?
Seven or eight years ago, I was at the Berlinale. And there was one guy who I didn’t know and just took his picture. He came to PÖFF a year ago and told me, “Oh my God, you are the guy! I remember you from Berlin.” That’s what I do. Every person who comes to my camera remembers me. And for me, that’s very important.
Are there any celebrities you find particularly easy to take photos of?
There are lots who are great [for photos]. Bill Murray, Omar Sy, Harrison Ford, Penelope Cruz, Will Smith, and many others. I think they really love the audience. They love their fans, and you see that.
Has there been anybody you were particularly excited to take a photo of?
Vin Diesel! Oh my God, I had been waiting for this moment for a long time. I really love him, and I remember he came to the photocall at the Cannes Film Festival [this year]. And the first thing he did was give me a [fist bump]. And I said, “My God, this is the best day of my life.” He really appreciates all the people. He came and said, “Thank you, everybody. I want to tell you one thing. I’m here because of all of you. You journalists and photographers made me a real actor.” He really respects the photographers, the fans and the audience.
Are there any celebrities you would still like to photograph one day?
Yes. Samuel Jackson, Keanu Reeves, Anthony Hopkins, Charlie Hunnam, Ron Perlman, Danny Trejo. Yes, I love the badass. My favorite actor is Sylvester Stallone. I have taken his picture a couple of times. He’s amazing and an amazing person. There’s the film I Play Rocky now. I can’t wait to see it.
How is PÖFF different? Is it more fun than other festivals because it’s your home place or does that mean there is more pressure?
No, it’s not pressure. Okay, a little bit, because we have so many people and everybody wants to have a photo. There is a really long line. And I see the [sad] faces when I must say, “Sorry, we need to close this black carpet.”
What is your ideal set-up or condition for photo work at a big festival or event?
If I am the official photographer, I really want to work with every person one by one, so I can give them the glamor. And after that, every person remembers that.
I always get the picture when people are looking straight at me. That’s, for me, the number one thing. Even at the Cannes Film Festival, if they are looking straight at my camera, that feels like I, the person [looking at the picture], and the celebrity are the only people in the room. There is a real connection.
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