Hannah Einbinder and Vin Diesel rev up a Cannes light on Hollywood glamour

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At the Cannes Film Festival, director Thierry Frémaux surprised many by presenting a special 25th anniversary screening of “The Fast and Furious.” He described the film as a prime example of universal cinema and a future classic.

Back in the summer of 2001, the first film in what would become the “Fast & Furious” franchise was a small hit, and no one imagined it would ever be shown at the prestigious Cannes Film Festival. The idea seemed absurd. But years later, Vin Diesel walked the red carpet at Cannes wearing a custom blazer sparkling with the words “Fast Forever,” promoting the eleventh and final movie in the series, planned for release in 2028.

You know, Vin Diesel was saying how special it was to finally be inside the theater after spending ages taking pictures with fans – like, you only get one shot at this life thing, right? But it turns out this wasn’t actually his first time at Cannes! Back in ’95, they showed this short film he made himself – he wrote, directed, starred in, everything – and it barely cost anything. Apparently, Steven Spielberg saw that short and cast him in ‘Saving Private Ryan,’ which, let’s be real, led to the whole ‘Fast & Furious’ empire and billions of dollars. So, in a way, the whole ‘Fast’ saga actually started on the French Riviera! It’s crazy to think about how a tiny indie film could lead to all that.

Awards

In a preview of the Cannes Film Festival, film critics Amy Nicholson and Joshua Rothkopf talk about the limited number of American films shown, which movies are expected to win awards, and other highlights.

I remember when the first “Fast and the Furious” movie was just a fun, over-the-top summer blockbuster – full of fast cars, loud music, and silly lines, even about things like tuna sandwiches. But seeing it then felt surprisingly classic, like a return to the days when movies were made for pure entertainment and filmed right in Los Angeles. Especially when you’ve been watching a string of slow, drawn-out dramas that don’t really grab you – like the films by Kōji Fukada and Asghar Farhadi – it’s refreshing to see a movie that starts with a dramatic action scene, like a semi-truck being attacked.

Honestly, watching Cannes makes you wonder what it’s all about. It seems like a huge kickoff for the Oscars, actually. A lot of the movies that will likely be nominated next year are getting their start right there, with a really lavish opening night – they even had truffles on the sea bass and the ice cream! It’s clearly where these films begin their journey towards awards season.

I also loved how excited Thierry Frémaux seemed to celebrate a popular, crowd-pleasing film – something Cannes is perfectly capable of doing. The festival has a history of embracing bold choices, like inviting “The Texas Chain Saw Massacre” in 1975, and more recently, giving serious attention to Demi Moore’s performance in “The Substance.” Now, Demi Moore is back as a juror, helping to choose this year’s Palme d’Or winner.

Paweł Pawlikowski’s film, “Fatherland,” is predicted to be a strong contender. The story unfolds in 1949 Germany, following Nobel Prize-winning author Thomas Mann (played by Hanns Zischler) and his daughter, Erika (Sandra Hüller), as they return to their homeland after fifteen years in exile in California. They quickly wish they hadn’t come back. In the fractured, post-war environment, Mann feels pressured to side with either Soviet ideology or American consumerism – a dilemma another character summarizes as choosing between “Stalin or Mickey Mouse.” While Mann hopes that German culture can bring people together, everyone else – from the Americans and Soviets to the media – seems to be using culture to further their own agendas.

The #MeToo movement sparked countless discussions about whether we can separate an artist’s work from their personal actions, a debate that remains unresolved (as evidenced by the recent financial success of the Michael Jackson biopic, “Michael”). The film “Fatherland” feels like a premonition of a coming political confrontation. In the movie, Hüller’s character slaps a famous actor from Nazi Germany who insists he wasn’t particularly close to Hermann Göring, claiming he was simply a fan – a claim that feels deeply unsettling. Throughout their travels, the father and daughter encounter repeated horrors that erode their belief in people. Ultimately, only art offers a glimmer of hope, and the scene where this happens is truly breathtaking.

Sandra Hüller’s acclaimed performance in the 2023 film “Anatomy of a Fall” – which won the top prize at Cannes – has quickly made her a well-known star around the world. This success, alongside other roles like in “Project Hail Mary” and an upcoming movie with Tom Cruise, shows that American audiences are increasingly open to international films and actors. A decade ago, when her quirky film “Toni Erdmann” was a hit at Cannes, a U.S. studio announced plans for a remake with Kristin Wiig taking over Hüller’s role. That remake never materialized, but now it seems more likely that studios would either keep Hüller in the cast or give the original film a wider release.

The prominence of actress Sandra Hüller at this year’s Cannes Film Festival also highlights the lack of major American filmmakers. Last year’s festival featured established directors like Spike Lee, Ari Aster, Wes Anderson, Kelly Reichardt, and Richard Linklater, alongside first-time directors Scarlett Johansson and Kristen Stewart, and even a blockbuster like “Mission: Impossible.” This year, the most talked-about American director is Jane Schoenbrun, who, while popular in indie film circles with movies like “We’re All Going to the World’s Fair” and “I Saw the TV Glow,” isn’t a household name.

Entertainment & Arts

Daniel Schoenbrun’s new film, “Teenage Sex and Death at Camp Miasma,” explores the world of horror and filmmaking. Hannah Einbinder, known from “Hacks,” plays Kris, a young filmmaker who’s a bit of an outsider trying to find her place in the industry. She’s tasked with reviving “Camp Miasma,” a popular but now controversial 80s slasher series. This leads her to Billy Preston (Gillian Anderson), the original film’s star, who now lives a secluded life on the old movie set. Anderson’s character challenges Kris to embrace the visceral excitement of horror, rather than analyzing it intellectually. Einbinder delivers a compelling and nuanced performance.

Until recently, Schoenbrun’s work focused on how people can become disconnected from reality through intense involvement in fandoms, often prioritizing fictional worlds over their own lives. Their new film, “Teenage Sex and Death,” is a departure, showing real courage and emotional depth – and featuring a killer dressed as an air conditioning vent. At its core, the film is about being brave enough to open up and be vulnerable, and for the main character, Kris, that means defending something you love, even if it’s unpopular.

The main character from the first “Camp Miasma” says its popularity comes down to gore and body horror. Vin Diesel prefers action, of course. But with a full week of screenings still ahead at Cannes, we’re hoping to discover more great films, even if it takes years for them to get the recognition they deserve.

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2026-05-15 14:31