Movies

Cannes 2025: 12 Must-See Films That Will Change How You See Cinema

BBG News

From the approximately 35 movies I watched over a 10-day span during Cannes 2025, here are some exceptional standouts. Regarding the competition films, this has been one of the most entertaining and skillfully constructed lineups I’ve encountered in the past 15 years or so that I’ve attended the festival. It’s unfortunate that we can’t be in two places at once, but one of the joys of being human is setting aside distractions, such as your phone, to immerse yourself fully in the film playing on the screen. Some of the movies and performances highlighted here will likely influence Oscar discussions. Although it might take some time before the less-flashy films on this list become available in the United States, watching them will expand your horizons, just as they have broadened mine.

Nouvelle Vague

Richard Linklater’s movie, titled “Nouvelle Vague“, is an intricate, humorous, graceful exploration into the creation of a film that might resonate with cinephiles and older generations – specifically referencing Jean-Luc Godard’s groundbreaking debut, “Breathless” from 1959. This film may find favor with just around 2.6% of the general public. It takes someone who genuinely cares to make such a picture. “Nouvelle Vague“, being part of the Cannes competition slate, is essentially a deep dive into the world of cinema production. However, it transcends mere behind-the-scenes storytelling. It’s a testament to art, history, and the pursuit of understanding complexities that initially may seem perplexing. It’s a jubilant cry and a call to action. Ultimately, it’s an ode to the audacious act of caring deeply about one’s craft. [Read the full review.]

The History of Sound

In a contrast to some critics at Cannes, I found Oliver Hermanus’ romantic melodrama, “The History of Sound,” remarkably captivating. Unlike other films that provoke through daring or controversy, this one stands out for its understated and traditional approach, which some might find too reserved or even dull. However, it is precisely this restraint that I adore.

The film tells a subtle love story between two music scholars, played by Paul Mescal and Josh O’Connor, set against the brink of World War I. One is a rustic Kentuckian, the other an urbane New Englander, who encounter each other at the New England Conservatory. Their romance, necessitated by societal norms of the time, unfolds quietly yet poignantly.

Both characters share a passion for old folk music, and their journey takes them to the wilderness of Maine. Along the way, they interact with ordinary citizens, preserving generations-old songs on wax cylinders. The acting is commendable, particularly Mescal’s performance, which is riveting just to watch him listen.

“The History of Sound” exudes a refined quality reminiscent of the Academy Award-winning films from the 1990s and early 2000s. However, it leans more towards tranquility than innovation. Yet, its depiction of longing and solitude through song after song creates a misty, inviting atmosphere of beauty.

Die, My Love

Due to several past Oscar contenders premiering at Cannes, everyone here is on the lookout for the next groundbreaking film. Lynne Ramsay’s stunning yet brutal movie, Die My Love, might not create the same buzz as last year’s The Substance; it’s a more complex and thorny exploration of women’s experiences. However, Jennifer Lawrence’s exceptional portrayal is something people are eager to witness and discuss. As Grace, a woman battling postpartum depression, she ventures beyond the edge, making her performance deeply moving. Lawrence herself has had children, giving her role a raw authenticity; she’s not a typical Hollywood figure but possesses a dreamy earthiness, reminiscent of a Rembrandt nude. Her face is round and expressive, evoking a sense of vulnerability similar to that of a young Ellen Barkin. Critics often describe such performances as “courageous,” though I’m certain there’s a more eloquent term; the subtle nuances in Lawrence’s portrayal in Die, My Love, even within its bold and expressive moments, are so intricate that they leave you searching for words. It’s the kind of performance that makes you go to the movies, connecting with the raw idea of human suffering in a way that both terrifies and exhilarates you. [Read the full review.]

Amrum

The renowned Turkish-German director Fatih Akin has produced both remarkable and less favorable films, such as the 2004 rock’n’roll redemption allegory “Head-On” and the chilling serial-killer thriller “The Golden Glove” from 2019. The film “Amrum“, which premiered out of competition at the festival, marks a refreshing change for Akin. This movie delves into how memories influence us and how frequently we decide in our youth what kind of person we will become. Set on the German island of Amrum in the North Sea during the final days of World War II, this film follows Nanning (portrayed by the talented young actor Jasper Billerbeck), a boy on the brink of adolescence who is deeply ingrained in Hitler youth culture but gradually recognizes his mistake in allegiance. Despite this realization, he continues to adhere to his fervent Nazi mother’s expectations; his struggle is sometimes bitingly humorous to observe, though it’s clear that it causes him great pain. The script for the film is semiautobiographical, written by Hark Bohm, who collaborated with Akin on the 2017 movie “In the Fade“; Diane Kruger, the star of that film, plays a sturdy island farmer in this production, whose significance extends beyond her agricultural contributions to the inhabitants, as she offers wisdom amidst the chaos.

Romería

2004 finds 18-year-old Marina (Llúcia Garcia), who lost her parents to AIDS and drug addiction at the age of six, embarking on a journey from Barcelona to Vigo for two primary reasons: first, to acquire necessary documents for securing a scholarship for her academic pursuits (with aspirations of becoming a filmmaker); second, to unearth the mysteries surrounding the parents she scarcely knew. Filmed in Galicia, a region characterized by rugged coastlines and salty-tinged skies, this semi-autobiographical third installment from Catalan director Carla Simón, presented in the Cannes competition lineup, exudes a longing, earthy radiance. This film is a testament to elegant, thoughtful storytelling—with a dash of subtle, unadorned magical realism, featuring a wise and enchanting Norwegian Forest Cat.

Two Prosecutors

In today’s atmosphere, Sergei Loznitsa’s grimly comedic film, “Two Prosecutors,” seems to perfectly capture the zeitgeist. Set in 1937 Stalinist Russia, this tale follows a newly appointed prosecutor (Aleksandr Kuznetsov) who strives to rectify an unjust imprisonment. As he navigates the labyrinth of bureaucracy, his efforts lead him to the government official who might help. This adaptation from Georgy Demidov’s 1969 novel is a poignant expression of despair that also manages to be darkly amusing – it’s the kind of film that makes you laugh because crying would be even more painful.

The Mastermind

Kelly Reichardt’s nearly comic film set in 1970s Massachusetts follows the story of an unlucky art thief, brilliantly portrayed by Josh O’Connor. This character, after seemingly sailing through life, ends up smashing into a metaphorical brick wall. Who wouldn’t be drawn to O’Connor’s charming secret smile? Alana Haim plays his exasperated wife, and the scene where he explains his reasons to her—claiming that everything he’s done was primarily for her and their children—is both subtly humorous and emotionally wrenching. It isn’t that he’s deceiving her; instead, it’s heartbreaking because he truly believes every flawed word he says.

Young Mothers

The Dardenne Brothers often grace the Cannes Film Festival with their films, and when they do, viewers anticipate a skillfully made, emotionally resonant drama that may be immediately captivating, although it might not leave a lasting impression. However, Young Mothers stands out as a striking exception. This film focuses on four teenage mothers living in a state-run home, navigating the challenges of caring for their newborns or, more painfully, learning to let go.

Much like other Dardenne films, it has a realistic, almost documentary-like quality. Despite their mature age, the girls’ expressions are raw and honest, showcasing their struggles. One girl is battling drug addiction, promising her infant she will stop, but the reality is far more challenging. Another is attempting to break free from a cycle of poverty and abuse, knowing her own limitations, yet yearning for a brighter future for her daughter.

Despite its somber themes, Young Mothers is not a downbeat film. Instead, it offers hope amidst adversity. Despite this optimistic tone, the movie lingers in your thoughts long after the final scene has played out.

Urchin and The Chronology of Water

The section ‘Un Certain Regard’ at the festival showcased two directorial debuts from young actors, including Kristen Stewart’s “Chronology of Water,” which features Imogen Poots and is based on Lidia Yuknavitch’s memoir about sexual trauma and substance abuse. Despite its flaws, the film is far from timid, with Stewart making daring decisions, keeping the raw edges of the story intact while structuring it in a way that avoids overwhelming despair. Similarly impressive is Harris Dickinson, known for films like “Babygirl” and “Triangle of Sadness,” who proves to be a talented and promising director with his debut film “Urchin.” This film premiered in ‘Un Certain Regard’ as well, where Frank Dillane plays a drug-addicted Londoner living on the streets, determined to turn his life around. Despite dealing with familiar struggles, Dickinson brings a fresh perspective, using humor and creativity to explore conventional themes in unexpected ways. It may seem that famous young actors have an easier time making their first film, but if they use their influence and resources to create intelligent, innovative debuts, everyone benefits. These are new directors who refuse to be dull.

Orwell: 2+2=5

Raoul Peck is one of our top documentary filmmakers, not just because he delivers information, but by showing us perspectives that stimulate us to seek hidden patterns and connections. This approach is evident in his latest work, “Orwell: 2+2=5“, which was screened here outside the competition. Whether you’re well-versed in George Orwell’s works or just starting out, this film offers fresh insights. For seasoned fans, it adds a new dimension to his ideas that still resonate today. For beginners, it explains why Orwell’s thoughts and concerns seem more contemporary than ever, even 75 years after his death. In essence, Peck’s film suggests that we should share Orwell’s concerns about the world we live in now. [Read the full review.]

Sentimental Value

In 2021, Danish-Norwegian filmmaker Joachim Trier gained prominence in the U.S. with “The Worst Person in the World,” featuring Renate Reinsve as a bold yet unput-together young woman exploring love, life, and making numerous errors. In “Sentimental Value,” a Cannes competition entry, Trier and Reinsve reunite, portraying sisters who must confront their self-centered and absorbed filmmaker father (Stellan Skarsgård) after years of estrangement, as they reside in a spacious yet homely family home. Unlike his previous work, “Sentimental Value” carries a slightly somber tone, but its brilliance is undiminished. At the press conference for the film, Trier stated, “Tenderness is the new punk.” These words could serve as our guiding principles moving forward.

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2025-05-23 23:09

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