Occupy Cannes [Fantasia 2025 Review]

by Mike McGranaghan

Under the guidance of its leader Lloyd Kaufman, Troma has been cranking out outrageous low-budget horror fare since the 1970s. Their best-known releases include The Toxic Avenger, Surf Nazis Must Die, and Tromeo & Juliet. (More recently, they put out a thing called #ShakespearesShitstorm that I bravely reviewed.) The documentary Occupy Cannes, which screened at Fantasia 2025, follows Kaufman and crew as they storm the 2013 Cannes Film Festival, a decade after getting in trouble there for outrageous antics.

The movie was directed by Lily Hayes Kaufman, Lloyd’s daughter, so it has a lot of insider access. Due to constant financial struggles, Troma can’t afford the type of pomp and circumstance the Hollywood studios bring to Cannes. Their response is to assemble a troupe dedicated to guerilla street marketing. In other words, they hold zombie parades and engage in other cost-free shenanigans designed to call attention to the work they’re promoting, in this case Return to Nuke ‘Em High: Volume 1.

Despite a decade’s absence, Cannes does not take any more kindly to Troma. They’re constantly hounded by police for their stunts. Of particular objection is the mask worn by an actor portraying Troma character Sgt. Kabukiman, which they claim frightens the tourists. This, despite actors walking around dressed as the Pirates of the Caribbean and carrying swords. Through it all, Kaufman perseveres, determined to sell the international rights to his picture.

Occupy Cannes is a great primer on the difficulties of independent distribution. Kaufman makes the point that indie voices are increasingly being drowned out. It’s hard for a company like his to stand out when the competition for audiences’ attention is so stiff. That problem has only worsened since 2103. Watching the Troma team’s kooky efforts to level the playing field in Cannes is equal parts hilarious and enlightening.

The documentary is more than a little ramshackle in its assembly, but that’s totally appropriate for Troma. Whether you’ve consumed a large swath of the company’s output or are simply intrigued by their existence, this is an enjoyable love letter to the cinematic underdogs of the world.

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