Chanel and Tribeca Festival’s 2026 Through Her Lens Luncheon Was Worth Dancing About

Over in Europe, Chanel stores were mobbed this week as Matthieu Blazy fans lined up to get their hands on the designer’s first Métiers d’Art collection. But at the Greenwich Hotel Courtyard in New York, a much more subdued, yet equally Chanel-clad, group gathered. On Friday, June 5, Chanel hosted its annual lunch in celebration of Through Her Lens: The Tribeca Chanel Women’s Filmmaker Program. There, the brand and Tribeca Film Festival toasted eleven years of an initiative that highlights and connects bold, visionary female filmmakers.

The guest list was a cross-generational mix of stars from film, television, art, and music with Katie Holmes, Meg Ryan, Jodie Foster, Myha’la, Bethann Hardison, and filmmakers Patty Jenkins and Mira Nair (aka the First Mother of New York) all in attendance. Ryan, in a tonal cream look featuring oversized pants, found some much-coveted shade in the restaurant’s courtyard where she chatted with Foster (casual in a Chanel Charvet shirt) and nibbled on passed hors d’oeuvres. Meanwhile, Francesca Scorsese, who arrived fashionably late, took a moment to connect with Tommy Dorfman.

Guests beat the 90-degree weather with glasses of rosé in hand and caprese salads, and after everyone had a chance to mingle, the Tribeca Festival’s co-founder and CEO, Jane Rosenthal, hushed the crowd to say a few words and make a big announcement. Jean-Michel, the documentary, by Quinn Whitney Wilson had been bought by Netflix. The room erupted in applause as Wilson broke into a celebratory dance, drawing cheers from the crowd. It was the kind of moment that epitomized the reason for the afternoon, as Rosenthal explained. “The goal [of Through Her Lens] was to create something unique and needed,” she said. “A space where women filmmakers could tell their stories on their own terms with access to mentorship, resources, funding, and a community that believes in them.” She continued, emphasizing the importance of “women who take risks, who are not waiting for permission, who are making work that is bold, complicated, funny, painful, messy, and true.” By the end of lunch, that mission felt less like a talking point than a shared feeling—one worth dancing about.