From An Almost Perfect Affair to Mr Bean’s Holiday, there’s nothing the festival enjoys more than seeing itself on screen. The next season of The White Lotus is tapping into that rich tradition – can it capture the Côte d’Azur’s peculiar magic?

Some years ago, the Guardian decided to boost its Cannes coverage by having a video crew accompany its regular festival reporters. At the meeting prior to the festival, I explained why this bright idea wouldn’t work. Cannes was a fortress and it wasn’t going to let us shoot anywhere. The security was too tight, the bureaucracy too byzantine. It would be a colossal waste of time and money. You couldn’t just run around Cannes pointing a camera at people.

It turned out I was wrong. Cannes didn’t care. It let us shoot everywhere. We shot on the street, on the beach and on the roof of Le Palais des Festivals. We dragged a sand-smeared rubber dinghy into the five-star Carlton hotel and asked famous actors to sit in it for an interview. We filmed on the carousel in the park and in the pavilions by the sea. The only resistance we encountered came from the steward of a billionaire’s yacht. The steward was perfectly happy to allow us free run of the deck, but he wanted his palms greased with a few hundred euros.