10 Cannes movies worth looking out for in a year of disappointments

After a whirlwind 10 days at the Cannes Film Festival, Times film critics Amy Nicholson and Joshua Rothkopf are exhausted but have compiled 10 movie recommendations (listed below in alphabetical order). While some of these films are likely to be awards contenders, they both have more mixed feelings about this year’s festival than usual.

Spending a week and a half watching movies in the south of France isn’t a bad way to live, even if it means rushing between dark theaters and bright sunlight, fueled by coffee and wine, and debating films with passionate movie fans. However, this year’s Cannes Film Festival was disappointing. While the festival promised bold, innovative work from established and emerging directors—including names like Nicolas Winding Refn and Hirokazu Kore-eda—the films themselves felt uninspired and lacked substance. It was like a great party with interesting people who had nothing new to say.

I might be sounding critical, but Cannes did have some good films this year. I was really hoping for a truly exceptional festival, though. After a long time, people are starting to return to cinemas, and they deserve to see something amazing. Unfortunately, too many filmmakers seemed to underestimate how much attention audiences have, and even the best movies felt unnecessarily long. As it turns out, I especially enjoyed the more unusual films from sections like Directors’ Fortnight and Un Certain Regard, and I have a feeling you might feel the same.

Okay, so I did see a few films in the main competition at Cannes that I genuinely enjoyed. But honestly, this year felt…off. It’s important to admit when a festival isn’t at its strongest, and this one just wasn’t. You could point to issues with scripts or how movies unfolded – it’s funny because I actually thought both the longest and shortest films were really well-paced. But I think it was more that things felt a little safe. The fact that a restored version of Ken Russell’s ‘The Devils’ – a seriously wild movie from 1967 – ended up being the most exciting thing I saw really says something. There were just too many films that were…pleasant. Perfectly fine, but not the kind of bold, challenging cinema I expect – and want – from Cannes.

Fortunately, we saw enough to sharpen up a list of favorites. Here’s what stirred us.

‘All of a Sudden’

While the beautiful depiction of end-of-life care in Ryusuke Hamaguchi’s film feels unlikely to become reality in the US, it’s a conversation we should be having, and the film offers a compassionate starting point. Similar to his previous work, like “Drive My Car,” Hamaguchi focuses on the power of relationships, and this film centers around a deeply meaningful conversation – one that recalls the intimate, lengthy dialogues in Richard Linklater’s “Before” series. Actresses Virginie Efira and Tao Okamoto create a sense of quiet depth as their simple walk unfolds, exploring the possibilities of human connection as evening falls. The film asks if it’s too late for connection, but suggests it doesn’t have to be. — Joshua Rothkopf

‘The Beloved’

Spanish filmmaker Esteban (Javier Bardem) returns home from New York to direct a historical film, and unexpectedly casts his estranged daughter, Emilia (Victoria Luengo), in a lead role. They haven’t spoken in thirteen years, and Esteban wasn’t a successful father – can he succeed as her director, especially with so much riding on this opportunity? It’s unlikely, particularly because Emilia shares her father’s struggles with alcohol. Director Rodrigo Sorogoyen lets the actors unleash their frustrations on each other, creating a chaotic dynamic on set fueled by their complicated relationship. The film portrays both their subjective versions of events and the mounting tensions among the entire film crew, threatening to derail the ambitious project. — Amy Nicholson

‘Bitter Christmas’

Pedro Almodóvar’s latest film is a personal look at his own creative struggles, with a plot structure that’s best experienced without knowing too much beforehand. Essentially, Almodóvar’s on-screen persona, a filmmaker named Raúl (Leonardo Sbaraglia), is challenged by the strong female characters he creates, with one of them suggesting he simply rely on his past successes. Considering many established directors at this year’s Cannes festival seemed content to do just that, I was thrilled when Raúl rejected a script he felt wasn’t good enough. While films about the artistic process aren’t usually my preference, Almodóvar doesn’t wallow in self-pity. He even adds a touch of levity with a charming and energetic male stripper-slash-firefighter, played by Patrick Criado. —Amy Nicholson

‘Clarissa’

As a total movie buff, I was really intrigued by this new take on Virginia Woolf’s “Mrs. Dalloway.” The novel, published over a century ago, centers on Clarissa Dalloway and her complicated past with two former loves. While the basic story sounds straightforward, it’s actually packed with layers about how society changes, the compromises we make, and a real undercurrent of darkness. This adaptation, called “Clarissa,” brilliantly moves the story to modern-day Nigeria. The cast is incredible – Sophie Okonedo, Ayo Edebiri, Nikki Amuka-Bird, David Oyelowo, and especially India Amarteifio, who is phenomenal as a young Clarissa before life and a rather dull husband brought her down. They’ve made some clever updates, like swapping the World War I veteran for someone traumatized by Boko Haram, and it’s fascinating to see how the story plays out against the backdrop of a rapidly changing Lagos. Plus, let me tell you, it’s visually stunning – the flashbacks are basically a series of gorgeous beach parties. It’s a really smart and sexy update to a classic!

‘Club Kid’

Jordan Firstman’s new comedy, “Club Kid,” initially sounded unappealing – a newly sober nightclub promoter unexpectedly becoming a father. But it’s surprisingly fantastic! The film is a sharp, funny, and honest story that avoids overly sentimental moments. Firstman plays Peter, a man hitting middle age and realizing the New York nightlife scene never truly valued him. His business partner, Sophie (Cara Delevingne), is delightfully awful, and his roommate Nicky (Eldar Isgandarov) is even more selfish – and incredibly funny enough to warrant his own movie. Peter’s son, Arlo (Reggie Absolom), is charming and quickly wins you over, but it’s the film’s witty and sometimes cynical humor that will convince audiences to look past the predictable premise and see “Club Kid” for themselves. — Amy Nicholson

‘The Diary of a Chambermaid’

Romanian filmmaker Radu Jude’s new satirical film centers on Gianina, a Romanian immigrant living a double life in Paris. During the day, she works as a housekeeper for a somewhat silly family, and at night, she performs in a classic, over-the-top slapstick play – also as a maid, but one whose master has a peculiar obsession. In both her worlds, Gianina struggles to express her true feelings, though she freely vents her frustrations in Romanian. The film, praised for its quick pace and sharp wit, equally highlights the dullness and the ridiculousness of Gianina’s daily life. Jude doesn’t shy away from playful moments, like a hilariously slow-motion shot of a pampered French boy missing a soccer goal. — Amy Nicholson

‘Fatherland’

Paweł Pawlikowski’s film, set in post-World War II Germany, creates a palpable tension that remains unresolved. The characters are left only with defensiveness, attempts to hide their past involvement with the Nazis, and a fragile belief in something greater. The movie explores themes of guilt and the aftermath of devastation, and while I could have watched it for much longer than its brief 82 minutes, the ending – a silent scene between a father and daughter accompanied by haunting Bach music played on a damaged organ – was the most powerfully moving moment of the entire film festival. “Fatherland” showcases Pawlikowski’s skill in using black-and-white cinematography to portray European tragedy, though it doesn’t quite reach the poetic heights of his other work. — Joshua Rothkopf

‘Fjord’

Many at the festival found this film complicated, but I didn’t. It’s a surprisingly simple story about a religious family caught in a dispute with an overzealous child protective services agency – and potentially with broader progressive values in Norway. Despite sounding old-fashioned, I was completely captivated. This is thanks to a well-constructed courtroom drama and the compelling performances of Sebastian Stan and Renate Reinsve, who previously starred together in “A Different Man,” as parents struggling to cope. However, the real credit goes to director Cristian Mungiu, who clearly knows how to tell a powerful story and enhances it with his skillful directing choices. — Joshua Rothkopf

‘Minotaur’

Andrey Zvyagintsev’s new film, after a long recovery from COVID, is a powerful return to form. It perfectly showcases his strengths in a concise and impactful way. The movie starts as a seemingly light observation of the superficial lives of Russia’s newly wealthy – lavish parties, messy divorces, and petty chatter. It then shifts into an erotic thriller, inspired by the classic film “The Unfaithful Wife.” However, the most striking part is the shocking and violent climax that unfolds in broad daylight. While set against the backdrop of the war in Ukraine, the film focuses on the moral emptiness of Russia’s elite, portraying them as detached and looking down on everyone else. It’s a searing commentary on Putin’s Russia and its societal disconnect. — Joshua Rothkopf

‘Teenage Sex and Death at Camp Miasma’

Joshua Rothkopf is really appreciating Jane Schoenbrun’s exploration of 1980s horror, particularly how the film accepts those movies, flaws and all, and lets them have their effect. He notes the film occasionally feels like an episode of “Hacks,” which actually works well, thanks to Hannah Einbinder’s honest and fearless performance. It’s also refreshing that the movie doesn’t try to revive a supposedly brilliant but overlooked male director. Instead, it focuses on a mistreated horror actress (Gillian Anderson, who plays it with fun campiness), a strange, snowy campground, and the simple joy of running through the woods in pajamas.

2026-05-22 22:32