Steve Pond is TheWrap’s Executive Editor, Awards and has been writing and overseeing awards coverage on the site since 2009. He spent decades writing about film, television, music and the entertainment industry for the Los Angeles Times, Washington Post, Rolling Stone, Premiere, New York Times, Playboy and many other publications. He is the author of the L.A. Times bestseller “The Big Show,” a behind-the-scenes look at the Academy Awards based on 15 years of unprecedented access to that show.
Experience:
Resides In:
Los Angeles
Education:
Steve received a Bachelor of Arts degree in Journalism from California State University, Long Beach.
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‘My Father’s Shadow’ Review: Cannes’ First Nigerian Movie Mixes Autobiography and Mystery
Cannes 2025: Akinola Davies Jr.’s drama is a rhapsody of sorts, but a rough one that ends in political turmoil and unanswered questions
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‘The Secret Agent’ Review: ’70s Brazilian Romp Includes Wagner Moura and a Rampaging Severed Leg
Cannes 2025: Cohesiveness or coherence are not high on the list of the attributes of Klebel Mendonça Filho’s film, but its messiness is part of its charm
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‘Orwell: 2+2=5’ Review: Angry Documentary Is as Much About Us (and Donald Trump) as About George Orwell
Cannes 2025: Raoul Peck’s film is an artful balancing act that dips in and out of Orwell’s life and work and swings from history to art to the most current of events
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‘Renoir’ Review: Quiet Japanese Drama Looks at Death Through a Young Girl’s Eyes
Cannes 2025: You could call Chie Hayakawa’s understated second feature a coming-of-age film, except that its lead character doesn’t really learn anything
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‘Bono: Stories of Surrender’ Review: U2 Frontman’s Life Story Is Grand and Bombastic, the Way We Like It
Cannes 2025: The singer and his director, Andrew Dominik, use startling visuals and reimagined songs to make this glorious mashup of life and music
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‘Amrum’ Review: Can This Poignant Drama Make You Ache for a Member of the Hitler Youth?
Cannes 2025: Director Fatih Akin does a wonderfully understated job of setting the innocence and the cruelty of childhood against the fall of fascism
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‘Sirât’ Review: Techno-Fueled Road Movie Is ‘Mad Max’ Without the Stunts or the Fun
Cannes 2025: Oliver Laxe has made one of a growing number of Cannes films that suggest that we live in dark, dangerous and troubled times
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‘Two Prosecutors’ Review: Film About Russian Corruption Is Set in 1937, But You Know It’s Timely
Cannes 2025: Ukrainian director Sergei Loznitsa’s drama is a quietly horrifying descent into a Kafkaesque nightmare where doing the right thing might be the riskiest choice of all
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Cannes and the Oscars: Why the French Film Fest Now Has More Clout With the Academy
TheWrap magazine: Since the double win of “Parasite,” Cannes has premiered more Best Picture nominees than any other festival
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‘Leave One Day’ Review: Slight Musical Is the Most Forgettable Thing About Cannes Film Festival’s Opening Night
Cannes 2025: The food-themed film is a little appetizer, not a main course
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Cannes 2025 Directors Portfolio: Kristen Stewart, Scarlett Johansson and More | Photos
Here are 48 filmmakers who will be premiering their latest work at the 78th Cannes Film Festival
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New Oscars Rule: If You Don’t See All the Nominated Films, You Can’t Vote
The Academy also released a statement on AI, saying it “neither helps nor harms” a film’s chances of being nominated
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Films From Christian Petzold, Sean Byrne Chosen for Cannes’ Directors’ Fortnight Section
Eva Victor’s Sundance hit “Sorry, Baby” will also appear in Directors’ Fortnight, the only section in Cannes to give an audience award
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Sean Baker-Produced ‘Left-Handed Girl’ Selected for Cannes’ Critics Week Section
In the past, Critics Week brought the Cannes debuts of Guillermo del Toro, Jacques Audiard and Bernardo Bertolucci
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Cannes Film Festival Lineup Includes New Films by Wes Anderson, Richard Linklater, Scarlett Johansson
Other directors heading to France are Spike Lee, Ari Aster, Kelly Reichardt, Julia Ducournau and the Dardenne brothers
