The 79th edition of the Cannes Film Festival was held from 12 to 23 May 2026 under a vibrating and electric Croisette. During twelve days, full screenings, passionate debates and gleaming evenings, a festival marked by increasing attendance, some turmoil and palpable effervescence. Between unexpected encounters, animated queues, suspended moments on the steps and intact magic of the bay, this edition recalled how Cannes remains a unique event where passion, prestige and shared emotions mix together.
The curtain closed on a 79th edition that will have recalled, with an almost worrying intensity, how much Cannes remains the scene where cinema questions the world as much as it celebrates. In a Croisette traversed by geopolitical upheavals and European fractures, the selection made resonate with contemporary concerns: wars, moving identities, drifts of power, political instability, collective memory. An edition in which melancholy, omnipresent, was imposed as the invisible thread linking works from all over the globe.
Under the chairmanship of South Korean filmmaker Park Chan-wook, the jury has delivered a coherent list, sometimes without real risk taking, but inhabited by films that dive into the fractures, concerns and ambiguities of our time. Fjord, Palme d'or discussed, crystallized the debates ; Minotaur, Grand Prix of a gravity that is lasting, recalled that cinema can still choose not to remain silent. Through these choices, Cannes reaffirmed its role as an artistic forum where engagement is never a slogan, but a necessity.
This 79th edition will have highlighted a European cinema haunted by its own ghosts, but also emerging voices that refuse resignation. Between political tensions, significant speeches and deeply human works, the Festival has confirmed that 7th art remains a force of reflection, resistance and emotion. A year in which the Croisette, more than ever, gave the subject to debate, to move and to think. Follow the laurel leaves.
Contents
The Electric Venus
Paris, 1928. Antoine Balestro, a young painter in vogue, can no longer work since the death of his wife and despair Armand, his gallerist. One night, Antoine tries to get in touch with his wife through a psychic. Without knowing it, he actually talks to Suzanne, a modest carnival that slipped into the trailer to steal food...
In this delightfully offbeat and light romantic comedy like a champagne bubble, Pierre Salvadori deploys a sweet-flavoured vaudeville where illusions, malfeasances and impulses of the heart telescope without losing the wire. And if the little sentimental circuit leaves some sparks to escape, the quartet diffuses a continuous charm, almost suspended, that electrifies without forcing. Lightning stroke guaranteed for this modern fantasy under period costume.
Palmometer: 🌿🌿🌿
The Life of a Woman
Gabrielle, 55, is dedicated to his profession. Surgeon and head of service in a public hospital, she runs and multiplys, assailed with responsibilities. When a novelist comes to spend a few weeks in her service for the needs of a book, her balance is wavering...
In this intimate drama, the director Loves of Anaïs outlines the path of a woman seeking a new identity, and it is this research that irrigates the structure into chapters. First confusing, it imposes a beat rhythm that ends up composing a coherent mosaic. Léa Drucker became vibrating, while Mélanie Thierry remained behind. And if the look is modern, it sometimes reacts to dated questions. Remains a portrait held, carried by a desire for freedom.
Palmometer: 🌿🌿🌿
Butterfly Jam
In New Jersey, a 16-year-old named « Pyteh » divides his time between the rugs of struggle and the small Cherkess restaurant of his family, on the brink of bankruptcy. But an impulsive decision by his father, an eternal opportunist, turns his trajectory...
In this story, the manhood wrinkles and unfolds like wings too heavy to fly straight, nourishing tonal variations as abrupt as they are fascinating. The Cherkess community thus advances between gentleness and sharper slippages, accompanied by a camera that breathes at the rhythm of the bodies. A vibrant collective portrait, sometimes indocile, but intensely alive.
Palmometer: 🌿🌿🌿🌿
The Abandonment
Everyone knows the name Samuel Paty, but few people really know his story. On October 16, 2020, Samuel Paty, professor of History and Geography, was assassinated after leaving his college. In the light of investigations and trials, this film returns to the last eleven days, and the gear that led to his tragic death.
In this factual thriller of implacable accuracy, Vincent Garenq reconstructs the gear that led to the assassination of Samuel Paty with rare honesty. The story, icy and upsetting, avoids simplification and caricature to better face what has remained out of the field. Antoine Reinartz, remarkable, embodies a crushed man. We'd like to scream in the room... But the throat closes. Then tears take the place of words.
Palmometer: 🌿🌿🌿🌿🌿
A few days in Nagi
Yuri, a divorced architect, visits her former sister-in-law Yoriko, a sculptor based in the village of Nagi. This stay, first considered as a simple parenthesis, takes an unexpected turn when Yuri agrees to pose for her. Over the course of the sessions, the silences are filled with memories, and a deep bond, long buried, reappears between the two women...
Kōji Fukada outlines a rural chronicle of a deceitful calm, where desires precede morals and where everyone seeks a course dictated by the heart. The softness of the dialogues responds to the elegance of the plans, while the sculptures reveal, by touches, the hidden impulses. A graceful portrait of a changing Japan, the film questions smoothly, but never without softness. And when everything seems said, remains this perfume of possible return to Nagi.
Palmometer: 🌿🌿🌿🌿
Fatherland
In 1949, Thomas Mann, Nobel Prize winner of literature, returned to Germany for the first time since the end of the war, accompanied by his daughter Erika, actress, writer and rally driver. Driving a black Buick, they're taking a hard journey to a country they fled 16 years earlier when the Nazi party took power...
In this existential chronicle in N&B where the world of yesterday efface, the German reconstruction dialogues with a road-movie father-daughter whose clear obscurs sculpt the unsaid. From this dry matter then emerges a man frozen in an overwhelming posture which, by the bond of blood, recovers humanity whom he thought lost. Austere but rich, the family drama scrutinizes the moral and political ruins of the post-war period, a portrait of a Europe still broken between the Soviet hammer and the American mirage.
Palmometer: 🌿🌿
Parallel stories
In search of inspiration for her new novel, Sylvie is spying on her neighbors across the street. When she hires young Adam to help her in her daily life, she does not know that he will upset her life and work, until the fiction she had imagined exceeds their reality to all.
Under his Russian doll tunes with Hitchcock's effigy, this meta drama slides from one voyeurism to another, until the desired fiction contaminates the real, bringing up buried desires. The Iranian filmmaker's gaze densifies illusions, while five trajectories clash, sowing a cleverly dosed emotional disorder, carried by a perfectly tuned troupe of actors. When the intimate becomes espionage ground, moral vertigo persists for a long time.
Palmometer: 🌿🌿🌿
Sanguine
Margot starts her internship at the emergency room, where she struggles to adapt. Very quickly, she faces patients of her age with unexplained symptoms. The recurrence of these exceptional cases raises questions, especially as she observes, on her own body, increasingly disturbing manifestations...
This contaminated B-series debunks the body horror's ER, where each corridor drives a social anguish ready to burst. Of course, the suture thread The Substance It remains visible, but it eventually absorbs it by distilled a very personal fever: that of an exhausted generation that Mara Taquin embodies with electric fragility. Between satire of precarious labor and gross mutations of the body, the staging, free of its impulses, finds its nerve. First year validated!
Palmometer: 🌿🌿🌿
Gentle Monster
Lucy and Philip are happy, they come to live with their son in a country house near Munich. One morning, their lives turn around when the police report to their homes to arrest Philip and seize his computers. Uprooted, Lucy is looking for the truth about her husband. Who is he really? Should she keep her son away?
In this drama where the intimate cracks like a monster with an angel face, Marie Kreutzer looks at domestic terror with deaf precision. Léa Seydoux, upsetting, advances between love, denial and survival instincts, while the horror, drawn from a different German fact, infiltrates without a break. While a few narrative detours are fluctuating, it remains an icy portrait of a home that is being lost, carried by an actress in a state of grace.
Palmometer: 🌿🌿🌿🌿
Colony
In a skyscraper in central Seoul, a mysterious contamination spreads abruptly. The building is closed and all persons present confined. Initially, the infected crawl like animals. But gradually, they evolve...
When Crystal Trap is taken hostage by the zombie flick, the real of the Last train to Busan Get her rage back. Survival in camera where the infected, endowed with a collective intelligence, mutate into a strategic pack, carbide to carnage continues: physical stunts, fierce makeup, kinetic chaos way 28 Days Later. And under the slaughter, Yeon Sang-ho inoculates a charge against the South Korean state and forced individualism. The contamination is total: one holds a classic in full incubation.
Palmometer: 🌿🌿🌿🌿🌿
Suddenly
Director of an institution for the elderly, Marie-Lou tries to establish an innovative care philosophy based on listening and the dignity of the residents, despite the reluctance of some of her teams. Her meeting with Mari, a Japanese director who fights cancer, will upset her trajectory...
In 3h16 suspended, this masterpiece unfolds a vibrating meditation where finitude becomes tiny laboratory of utopias. The gestures, such as a foot massage, a burst of laughter, or an idea that circulates, draw a policy of the sensitive, as if capitalism were in the midst of mildness. Two women invent a lightning fraternity, almost solar, where humanism learns step by step. Ryūsuke Hamaguchi orchestrates all this with an aerial grace, and his film, large and benevolent, irradiates long after.
Palmometer: 🌿 Gold
Night flight to Los Angeles
In the middle of the aviation age, Jeff, a young boy passionate about aeronautics, flies alongside his mother for a return trip to Hollywood, crossing the United States. What could have been that a simple flight becomes the journey of a lifetime. Between the dishes served on board, the attention of the hosts, unexpected stopovers, colorful travellers and a passage marking the first class, adventure reserves moments as magical as surprising...
This night flight to Los Angeles takes off as an aviation dream where Travolta, co-pilot of her own nostalgia, turns each plan into a retro postcard. Moreover, it reads more of a leafy tale than a real film, so much the staging floats like a illuminated TWA manual. And even though she sometimes approaches the promo disguised for the youth novel eponymous, the touching naivety of this aerial bluette arouses an unexpected tenderness, gentle turbulence understood.
Palmometer: 🌿🌿
Paper Tiger
New York, Queens, 1986. Two brothers whom everything opposes unite on a questionable case related to the Russian mafia. But what was to be an opportunity becomes a nightmare, endangering their family, integrity, and brotherly bond.
Building fatality as a line of fracture, James Gray plunges into the fraternal polar with dark elegance. Adam Driver, master, deploys a game of bruised precision that loves each plane. The staging, of a dull intensity, reveals what the hunt for the American dream crushes in silence. Stuffing thriller, incandescent intimate drama: the filmmaker still tames the night, and whispers, in hollow, « do better ».
Palmometer: 🌿🌿🌿🌿🌿
Sheep In The Box
In the near future, Otone and her husband Kensuke, who lost their child, are offered a humanoid robot completely identical to their son.
Allowing the first thirty minutes of the I.A. of Spielberg to evaporate in a dream of Miyazaki, this counter-sing to the darkness of Black Mirror slides to a fable where the Android looks less for a soul than an animist emancipation. Kore‐eda weaves a light mourning like a dawn wool, even if the sci‐fi box remains too narrow for its impulses. Yet, at the heart of the undergrowth, remains a comforting work.
Palmometer: 🌿🌿🌿
Explosive Species
In the countryside of North-East France. The wild boars that ravage crops cause an open war between hunters and farmers. Brun, a bankrupt cereal farmer, struggles to keep his farm on the run. When a notable from the corner pushes him to the end, he derails and disappears. A year later, Fulda, a Corsican gendarme transferred to the area for disciplinary reasons, is conducting the investigation...
When the rural polar hunts on the lands of Bruno Dumont with the uniform of the Gendarme of Saint-Tropez, a wind of freshness blows on The Filmmakers' Fortnight. Corruption, lucrative hunting and libido in maraude lead the investigation, in a jubilatory grotesque where the disappearance of a murderer serves as a detonator to a political farce, which the filmmaker leads with an unpredictable mastery worthy of the best artificers of deviant cinema. Dupieux approved!
Palmometer: 🌿🌿🌿🌿
Garance
Garance is a young alcoholic actress. Eight years of a journey made of moving, working, dating, parties and anxiety, joys and hard blows... But also an intimate, friendly and sexual revolution, a chaos like « large recre » where there is as much love as destruction.
With this portrait of addiction, Jeanne Herry signs a lively and never moralizing dramatic comedy. Adèle Exarchopoulos deploys a stunning presence, capturing the tremors of functional alcoholism with unarming honesty. The story advances with tender humour, then hits harder, daring to challenge the tentacular grip of a lobby that blurs public debate. A work that chooses to accompany rather than judge, with many peps and a true righteousness.
Palmometer: 🌿🌿🌿🌿
Hope
The reinforcements went out to control forest fires and all communications were cut. At the Hope Police Station, Bum-seok and Sung-ae are struggling to defend their village to the aging population. Meanwhile, Sung-ki and his friends go after the beast in the mountain but find themselves targeted...
Between kaijū eiga unleashed, slapstick bloody and slipping SF, this protein blockbuster debunks like a tide of fire: a 160 min action torrent that takes everything, surrounded by two sequences worthy ofFury Road. We're thinking about The Titans Attackstriking Michael Bay in the middle of a race against the monsters, where each plan demands its vertigo... even if the CGIs crack the momentum of a staging that kills it. A future (great?) saga just crashed on Earth.
Palmometer: 🌿🌿🌿🌿🌿
Mill
June 1943, Jean Moulin, leader of the Resistance, was arrested as he tried to reunite the forces of the Secret Army. Interviewed by Klaus Barbie, the head of the Gestapo of Lyon, Moulin is trained in a relentless confrontation. His ultimate fight against manipulation and brutality begins. The fate of free France depends on it.
In this drama of resistance to the appearances of moral trap, the staging of Nemes tightens the stranglehold on each plan, so that the duel Lellouche-Eidinger s'imposed like the beating heart of the story. Between Jean Moulin's calm steel and Klaus Barbie's terrifying coldness, the face-to-face slides gradually towards a real mental arm of iron. Finally worn by the blacks and golds of 35 mm, of which Mátyás Erdély sculpts a light-obscured like a feverish Rembrandt, the film reveals the machinery of fear and strikes history with a dark, precise, unforgettable gesture.
Palmometer: 🌿🌿🌿🌿🌿
The Third Night
August 1942. In the midst of occupation, the Vichy government organized a massive raid of foreign Jews. Gilbert Lesage, a young civil servant with the Foreigners' Social Service, is responsible for organizing a screening commission to decide the fate of the Jews arrested, while Abbé Alexandre Glasberg, a committed humanitarian, manoeuvred to save them.
In this historical drama, which looks at the rescue of more than 100 Jewish children in 1942, disobedience splits the darkness of a valiant state. The story, conducted as an administrative duel between Justes and Collabos, exposes the cold mechanics of an era. And if the staging remains school, the emotion infiltrates in silence: each study dossier reviving a long history kills. A serious tribute, a night that stubbornly seeks its fragile light.
Palmometer: 🌿🌿🌿🌿
Fjord
The Gheorghiu, a very pious Romanian-Norwegian couple, settled in a village at the end of a fjord where they quickly became friends with their neighbours, the Halbergs. The children of both families become very close, despite different educations. When the teaching staff discovers bruises on the body of Elia, the eldest Gheorghiu children, the community wonders whether the traditional education that Gheorghiu children receive from their parents could be the cause.
In this icy drama where the apparent calm falls under the weight of convictions, Cristian Mungiu, on the background of child protection, dissects the cultural divides of contemporary Europe where faith, identity and hospitality come together without the possibility of dialogue. Nothing is simplified, nothing is cut, and the star couple (Stan-Reinsve) advances on the moral peak line with fascinating restraint. Only flat: impact on children, left in the shadow, as a flaw that the narrative bypasses.
Palmometer: 🌿🌿🌿
The Unknown
David Zimmerman is almost 40 years old, he is a photographer but no one knows. While he almost never leaves his home, friends drag him into a crazy party. He spot a woman in the crowd, can't untie her eyes, follows her.... A few hours later, David wakes up: he is in the body of the unknown.
Like a Russian doll who hesitates on his own face, this fantastic drama slips from a worried body swap to a metaphysical investigation where each plan seems to look as much as its characters. Arthur Harari cleans up, Léa Seydoux loving, Niels Schneider drifts, and the disorder of identity circulates like in an adventure one night with It Follow-up. The staging brings to light the mutation of bodies, places and spirits, until a melancholic vertigo that refuses to stabilize. Audacious.
Palmometer: 🌿🌿🌿🌿
Her Private Hell
While a strange mist swallows up a futuristic metropolis and releases an elusive mortal presence, a troubled young woman leaves in search of her father. During this quest, his destiny crosses that of an American GI engaged in a desperate journey to tear his daughter out of Hell.
Lost in a neon mist that thinks it hides the emptiness, this existential neo-giallo has a egocentric trip where revenge dissolves in vaporous aesthetic divagation. Between soap-opera 80s and fashion-shoot 2010s poses, Refn stacks the affect like a poorly digested baroque magma, overesthetized to the fetish. Mandico rode, but the spectral patriarchate is denounced there with a heavy draft that confuses gesture and posture. Remains an artificial dream fever, beautiful as a mirage, vain as a slogan. A work that above all validates... His own vanity.
Palmometer: 🌿
The Loved Being
A world famous director, Esteban Martínez returns to Spain to shoot his new film. He offered the main role to an unknown young actress: his daughter, whom he had not seen for thirteen years. The young woman accepts this incredible opportunity, but knows that on the occasion of this shooting, she will confront a man whom she could never consider a father. The weight of the past threatens to reopen their wounds.
A tragedy filmed as a duel of glances, where every silence seems to rake a past impossible to repair. The filmmaker dissects this family shoot as an emotional autopsy, leaving Javier Bardem, of an incredible power, facing a girl who no longer wants to frame in her field. We're thinking about Sentimental value, but here the eyes shoot faster than the words. Some mannerisms persist, speccadilles in the face of this broken deflagration of intimacy.
Palmometer: 🌿🌿🌿🌿
Minotaur
Russia, 2022. Gleb, a successful businessman, lives with his wife Galina and their son in a provincial town. He is facing growing professional problems in an increasingly unstable world. The collapse of a carefully constructed life quickly turns into violence.
In this domestic thriller inspired by The Unfaithful Woman, Zviaguintsev sculpts a moral labyrinth where the Russian elite turns round, tracked by his own inner beast. The fall of Gleb, an office minotaur surrounded by war, infidelity and economic collapse, slides from a marital drama to a political fable in the scalpel. The staging, glacial and millimetred, chokes every gesture until the inevitable. Between family and nation, even sacrificial logic: we advance, head down, in a corridor where strength justifies everything.
Palmometer: 🌿 Gold
Autofiction
Raúl is a cult filmmaker in the midst of a creative crisis. When a drama hits one of his closest collaborators, he is inspired to write his next film. Little by little, he imagines Elsa, a director in full writing, whose career starts to reflect hers. The two filmmakers become the two facets of the same character, in a game of mirrors where the impudence of self-fiction reveals as much as it destroys. But how far can we go to tell a story?
In this introspective drama where creation and confession are confused, Almodóvar dismantles his own device with almost too conscious lucidity. The story turns spirally, resembles its fetish motifs as if to conjure exhaustion, yet advances with assumed fragility. Between cabossed self-portrait and veiled critic, the ensemble seduces as much as it simmers. Creation draws from borrowed lives, but struggles to reinvent itself. A loop that questions its author: would it be at the end?
Palmometer: 🌿🌿🌿
Arioka Castle
In feudal Japan, Lord Murashige fell into his castle and captured his enemy, the strategist Kanbei, whom he decided to spare. Over the course of the seasons, unexplained crimes disturb the order of the place; Murashige is conducting the investigation, but each time encounters a missing piece that only Kanbei, from his cell, seems capable of deciphering.
In this whodunit of samurai, the filmmaker examines the flaws of a fractured feudal Japan, where honour is given in seasons as a calendar of war. Behind the chabara varnish, the investigation winds between moral gravity, aphorisms and false appearances, recalling that beliefs serve as mental screens. But too long, too talkative, too ceremonial, this medieval Cluedo requires to know the historical and political archanes of the country so as not to mislead, even if it unfolds, under the protocols, the fragile humanity of the warriors.
Palmometer: 🌿🌿
The Man I Love
New York, late 1980s, Jimmy George, iconic figure of the theatre scene, lives in a couple with the most tender and caring lovers. But in the face of the promised death, the desire to live and create, to desire and to love, one last time, is stronger than anything.
A tragic queer romance that pushes like a jazz standard, slippery with a feverish breath to a last dance ripped out at the time. The New York AIDS drama unfolds without pathos, carried by a Rami Malek who finds here his best role, a funamble between abandonment and resistance. The staging, however, advances with assumed simplicity, letting the songs carry what the words keep quiet. And when the camera goes off, a final love beat resonates.
Palmometer: 🌿🌿🌿🌿
Roma elastica
1982. Eddie is an actress who had her American glory hour. Accompanied by Valentina, her faithful makeup artist, she accepts the main role of a science fiction film shot in Rome, which could well be her final film...
When Mandico hangs with Lynch and Fellini, the Italian cinema bis recomposes like a feverish film where a dying actress is still looking for her last breath of light. In this retro-futuristic opera that approaches the trance, the filmmaker relaxes his rituals: less hermeism, more flesh, and a Cotillard/Merlant duo that vibrates a diffuse attachment. As for the satire of the film industry, it slams dry, between body worship and programmed forgetfulness of its exhausted muses. Not for everyone, but damn alive.
Palmometer: 🌿🌿🌿🌿🌿
The Battle of Gaulle: The Iron Age
June 1940. France collapses and signs armistice. In the midst of chaos, a man refuses to yield. Alone against all, this unknown general escapes to London to save what remains of a dream: freedom. No army, no support, no hope. But with a mad conviction: France, its France, did not lay down its arms. He is trying a final bet: convincing the world that the battle of France is neither over nor lost.
A historical fresco that advances like a battleship: massive, nervous, and sure enough to probe the faults of a giant without ever losing sight of the collective swell of the Resistance. The story, epic, slides from a diplomatic duel to an implacable war mechanics, until it humiliates the Hollywood today on its own ground. Some visionary CGIs grin, but the rhythm, carbide with red iron. A French superproduction that hits hard and aims already I write your nameHis suite.
Palmometer: 🌿🌿🌿🌿
Our salvation
September 1940, the Pétain regime was in place. Henri Marre, 49, arrives at Vichy without money, without contact, away from his wife and children. He sees in the new administration the opportunity to finally find the place he deserves. In his suitcase, his political treatise published on account of author, Our Salvation, where he defends his patriotic convictions and his engineering methods.
This chronicle of an ordinary collabo jostles the codes of historical cinema: sharp irony that sneaks in smuggling into the felted corridors of a vichyst bureaucracy replayed as a satire of office, and anachronisms that flow smoothly (pop songs joyfully moved, contemporary gesture of staging) recalling that the past never ceases to return. Between carnal humour and documentary vertigo, the film exposes opportunism as a discreet engine of history, until a finale where time itself seems to lay down its arms. Some administrative lengths remain.
Palmometer: 🌿🌿🌿
Coward
1916. World War I. Belgian Front. Pierre just joined the troops, eager to prove himself. Behind the lines, in the food and equipment supply team, Francis organizes shows to maintain soldiers' morale. As the fighting rages, everyone tries to escape the brutality of the war, even for a moment.
In this drama of queer war that prefers indecentness to parlour, the staging chisels every gesture with a plastic care to flower of skin. Restraint becomes breath, and the battlefield of the Great War, paradoxically, a refuge where a sacrificed generation finally allows itself to vibrate. The light, unreal sweetness, envelops two masculine bodies that come close as if to demine fear. And when art invites itself, it takes away a freedom that weapons still refuse.
Palmometer: 🌿🌿🌿🌿
Bola negra
Spain 1932, 1937, 2017. Three men. Three times. The same invisible thread of desire, pain and inheritance. BOLA NEGRA goes through time to reveal what unites them.
A Baroque fresco that combines desire and repression, slipping from Spain torn by the Civil War to a still haunted present. The historical drama ignites three eras (1932, 1937, 2017) as scars, but its ambition sometimes overflows with supported symbols. Between lyrical and plasticized brilliance, the story moves forward as under the crossfire of the Franquist lines, carried by some fulgurances where the memory of the queer finds breath. And when the stories come together, a chill goes up despite the too schematic contours.
Palmometer: 🌿🌿🌿
Night Stories
Nora, Thomas and their daughter Ida live in an isolated farm with only one neighbour, Cristina, an Italian painter. As everyone prepares a surprise birthday party for Nora, three men roam around the house and invite themselves to the party, raising well-kept secrets...
Dans ce thriller domestique qui voudrait rejouer A History of Violence en mode home invasion, tout semble prêt à déraper (la nuit, la menace, la tension), mais tout demeure retenu, comme si le film craignait sa propre pulsation. Les assaillants, en service minimum, n’imposent jamais la terreur promise et peinent à fissurer un foyer trop lisse pour trembler. Quant à la mise en scène, appliquée mais atone, elle éclaire (bien) sans embraser, laissant derrière elle un simple frisson… déjà dissipé.
Palmometer: 🌿🌿
L'Aventure rêvée
À Svilengrad, une petite ville à la frontière bulgare, aux confins d’une Europe délaissée, Veska, archéologue, renoue avec Said, un ami d’enfance, dont la voiture vient d’être volée. En voulant l’aider, Veska glisse progressivement au coeur d’une société criminelle dont l’emprise règne sur la ville. Veska va devoir affronter ce monde à la fois trouble et dangereux.
Une chevauchée frontalière exigeante où le western se cabre face à un territoire livré à la corruption, ses marges orientales vibrantes de trafics et de souvenirs mal enterrés. L’archéologue, croyant fouiller le passé, s’enfonce dans un hors‑champ criminel qui la façonne autant qu’il la menace. La violence, qui percole, scande un récit (trop) étiré dont l’opacité devient arme défensive. Et à mesure qu’elle déterre mensonges et genres mêlés, le film révèle la strate qui change tout : une héroïne qui refuse l’ensevelissement.
Palmometer: 🌿🌿🌿
Victorian Psycho
1858, une jeune gouvernante excentrique nommée Winifred Notty arrive au manoir gothique “Ensor House”. Winifred est chargée d’enseigner aux enfants les bonnes manières à table et de leur faire connaître l’histoire de leur famille, tout en cachant ses tendances psychopathiques…
Cette fable macabre qui rit sous cape bouscule les convenances : chaque plan glisse vers une folie délicieusement préméditée, et la mise en scène, toute en coupes assassines, transforme la demeure en théâtre d’hypocrisies où Maika Monroe, gouvernante détraquée, aiguise son venin avec un plaisir presque mondain. Autour d’elle, la bourgeoisie britannique s’effrite, complices involontaires d’un thriller horrifique victorien délicieusement retors, où l’humour noir sert de dernier tison pour attiser la cruauté.
Palmometer: 🌿🌿🌿🌿
The Awards
Feature Films
Palm gold
FJORD
directed by Cristian MUNGIU
Grand Prix
MINOTAUR
directed by Andrei ZVIAGUINTSEV
Award for Stagemaking (ex-æquo)
Javier CALVO & Javier AMBROSSI for BOLA NEGRA
Pawel PAWLIKOWSKI for FATHERLAND
Scenario Award
Emmanuel MARRE for OUR SALUT
Jury Prize
RENEWED AVENTURE
directed by Valeska GRISEBACH
Women's prices
Virginie EFIRA and Tao OKAMOTO in SOUDAIN
directed by HAMAGUCHI Ryusuke
Price for men
Emmanuel MACCHIA and Valentin CAMPAIGN in COWARD
directed by Lukas DHONT
Short films
Palm gold
TO THE ADVERSEORS
directed by Federico LUIS
Special mention
ALI
Adnan AL RAJEEV
A Certain Look
Un Certain Regard Prize
EVERYTIME
directed by Sandra WOLLNER
Jury Prize
ELEPHANTS IN THE BRUME
directed by Abinash BIKRAM SHAH
(1st film)
Special Jury Prize
THE CORSET
directed by Louis CLICHY
Best Actor
Bradley FIOMONA DEMBEASSET
in CONGO BOY directed by Rafiki FARIALA
Best Actresses
Marina DE TAVIRA, Daniela MARÍN NAVARRO, Mariangel VILLEGAS
in SIEMPRE SOY TU ANIMAL MATERNO directed by Valentina MAUREL
Best Scenario
PILLION
Harry LIGHTON
1st film
Golden camera
Price of the Golden Camera
BENNIMANA
directed by Marie-Clémentine DUSABEJAMBO
A Certain Look
The Cinef
First Prize
LASER-GATO (Laser-Cat)
directed by Lucas ACHER
NYU, USA
Second Prize
SILENT VOICES
directed by Nadine MISONG JIN
Columbia University, United States
Third prize (ex-æquo)
ALDRIG NOK (Never enough)
directed by Julius LAGOUTTE LARSEN
La Fémis, France
GROWING STONES, FLYING PAPERS
directed by Roozbeh GEZERSEH & Soraya SHAMSI
Filmuniversität Babelsberg Konrad Wolf, Germany
Higher Technical Commission
THE CST PRICE OF THE TECHNICAL ARTIST is awarded to Nicolas Rumpl, Director of the film Our Salvation directed by Emmanuel Marre
« The subtle biases of the montage reveal visual aesthetics, the ambition of the staging and the play of the actors of the film "Our Salvation" by Emmanuel Marre. »
THE CST PRICE OF YOUNG TECHNICIAN is awarded to Esther Mysius, Director of the film Stories of the Night directed by Léa Mysius
« The intimate work of decorating allows them to become a real stakeholder in narrative. »
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