Movies

The 10 best movies we saw at the 2025 Cannes Film Festival

BBG News

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At Cannes, France, the awards ceremony on Saturday marked the conclusion of this year’s festival, and some of the films we watched left quite an impact – bruises that will linger for a while. Indeed, this edition of Cannes seemed more intense than ever before. Emerging directors showed exceptional courage, so if you’re a seasoned filmmaker vying for the top spot, be prepared to bring your A-game. The following 10 films definitely did just that – keep an ear out for our praises in the coming days. Approach them with care, as they might still leave a lasting impression.

In this version, I’ve attempted to maintain the original meaning while making it more accessible and easy to read.

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‘Die, My Love’

Should you be among those who have eagerly awaited Lynne Ramsay’s films, understanding her careful approach to production, then you can appreciate the delight when they eventually arrive and leave a lasting impact. Known for challenging our expectations, Ramsay takes a fresh approach in this film by pushing an actor to the brink of madness and dislocation. Remarkably, Jennifer Lawrence, who has been venturing into new territories recently as seen in “No Hard Feelings” and the less-viewed “Causeway,” is the chosen actor for this role. In “Die, My Love,” Lawrence portrays a newly maternal character trapped with a husband she despises and a rural home that feels like a burial ground. Her performance transforms her into a casual yet explosive supernova, emitting sparks of pain, destruction, and ruin. This film represents the most rebellious work Ramsay has ever produced, and for a director known for films such as “Ratcatcher” and “We Need to Talk About Kevin,” that’s quite a statement — Joshua Rothkopf.

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In the most recent production, the director has cast Jennifer Lawrence and Robert Pattinson as a romantic pair settling into a home they’ve inherited, only to drift apart. The storyline is filled with tension by the filmmaker.

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‘Eleanor the Great’

In this rephrased version, Amy Nicholson expresses her admiration for the 95-year-old actress June Squibb, who has recently earned her second leading role. Notably, her first role was in the crime-fighting comedy “Thelma,” released just last year. Squibb brings a delightful energy to her performances, particularly as Eleanor in the film “Eleanor the Great.” In this role, Eleanor is known for her sharp tongue, demanding kosher pickles at a grocery store and gleefully revealing her grandson’s mother’s high school nickname. However, Eleanor takes things too far when she fabricates being a Holocaust survivor to alleviate her loneliness and continues to uphold the lie rather than confess the truth.

First-time director Scarlett Johansson infuses this small New York tale with empathy, making it feel relatable. It seems that Johansson has created a character-driven film she would be proud to act in herself when she reaches Squibb’s age. Overall, “Eleanor the Great” is an effortless and enjoyable recommendation, with one minor misstep: a scene that explicitly states its themes, which aligns with Eleanor’s boisterous personality. — Amy Nicholson

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‘It Was Just an Accident’

If at times, forgiveness serves as the path toward justice and healing, memory can be an obstacle in this process. There are certain things that one simply cannot erase from their memory. For instance, imagine the sound of a prosthetic limb, where each step produces a faint hiss. This sound is immediately recognizable – it belongs to a man with a family, a pregnant wife, and a daughter. On their journey home, they encounter car troubles. However, as this individual continues to move around (hissing), and more people become aware of the sound (hissing), it becomes increasingly evident that this isn’t an ordinary customer, but rather a former tormentor who had inflicted pain on them in the past. But can they be certain, even without their blindfolds?

Iranian filmmaker Jafar Panahi, who has often been jailed and banned, never lets his work become overly sentimental. Yet, this film comes closest to expressing the fury of living under someone else’s control. It serves as his “Death and the Maiden” and is all the more impactful for it, culminating in a heart-wrenchingly powerful finale that you should not miss experiencing yourself. – JR

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In a different phrasing, it can be stated as follows: Kristen Stewart’s first directorial venture received a frosty reception, but Mubi, the distributor of ‘The Substance,’ invested in another project titled ‘Die, My Love,’ which features Jennifer Lawrence and Robert Pattinson.

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‘The Mastermind’

Kelly Reichardt, who skillfully transformed Michelle Williams into a turbulent artist with complex friendships in “Showing Up,” has crafted an unprecedented, humble heist movie that’s unlike any other. Set in 1970, this film steers clear of the Scorsesian feel; instead, it centers around an unintelligent art thief (Josh O’Connor, embodying a loser persona) who, following the theft of lesser-known modernist paintings from an understaffed Massachusetts museum, endures severe consequences as his scheme crumbles. Reichardt, a child of law enforcement, focuses more on the aftermath: tense, self-deprecating kitchen conversations with disillusioned family members who refuse to offer him further financial support and urge him to vacate. The impeccable period-authentic cast includes Alana Haim, Bill Camp, Hope Davis, and John Magaro. If you’re searching for Danny Ocean-like characters, this isn’t the film for you; however, if you appreciate jazz music as a backdrop to despair, your new favorite comedy has arrived. – JR

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‘Pillion’

In a bold and daring exploration of romance by director Harry Lighton, the narrative unfolds with Colin (Harry Melling), a reserved British youth, gazing out of his parents’ car at a biker (Alexander Skarsgård) dressed in leather. The melodious tune of “I Will Follow Him,” a popular ’60s ballad, plays in the background. Enthralled by this man, Colin follows him to the local pub, a secluded alleyway, and eventually, his home where he is instructed to prepare dinner, sleep on the floor, and serve him at will. Though degrading, Colin is enthusiastic about obeying, reveling in his role of submission. He proudly wears his master’s padlock around his neck, expressing that he has a knack for devotion. Lighton delves into the intriguing concept of how submission empowers Colin to pursue his desires. Audience members may not be expecting a conventional love story, but they are more than willing to embrace this unconventional dynamic. — AN

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Ari Aster’s latest film, titled “Eddington,” emerged as a product of the concerns he held during the COVID-19 lockdown. He expresses his belief that both truth and democracy are in a state of decline.

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‘The Secret Agent’

Kleber Mendonça Filho’s Brazilian crime movie, titled something that doesn’t do it justice, is far from anything as stale as a Le Carré story. Indeed, the film depicts some grim events in 1977 Recife – political kidnappings, street violence, and an eerie undercurrent of danger, as hinted by early title cards referring to it as “mischief.” However, the movie is chiefly anchored by Wagner Moura’s soulful portrayal of a grieving widower and scientist who finds himself in the crosshairs of mysterious forces. His primary desire is to reconnect with his young son, who is slowly forgetting their lost mother due to his fascination with “Jaws.”

Mendonça, the imaginative mind behind “Bacurau” and “Pictures of Ghosts,” infuses this film with vibrant cultural detritus: tales of a leg that roams on its own in the tabloids, or the chilling sound of a theater audience reacting to “The Omen.” Watching this movie at Cannes was like savoring a rich and satisfying meal. — JR

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‘Sirât’

In the wasteland leading to oblivion, a rough-and-tumble gang arrives in swift trucks across the desert. If you seek meaning, it can be found: conversations revolve around “the end of the world” and a missing girl somewhere. However, these details are not crucial for getting swept up in director Oliver Laxe’s electrifying survival tale, fueled by an intense desire for speed and pulsating EDM music that shakes your bones when played loud enough. “Sirât” appears to be at the edge of civilization’s collapse, yet every aspect (even a startling moment of destruction) serves to amplify pure excitement. The movie brushes up against the enigmatic 1970 film by Michelangelo Antonioni, “Zabriskie Point,” and perhaps even “Quest for Fire.” However, this is a quest not for fire but for beats, as bodies succumb in the process. I find myself embracing this as the end of the world. — JR

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‘Splitsville’

In a lively portrayal by Michael Angelo Covino, the comedy titled “The Closer You Get” explores crumbling relationships. The story commences dramatically as Carey and Ashley (played by Kyle Marvin and Adria Arjona) narrowly avoid a deadly car accident on the highway, following which Ashley confesses her infidelity. In response, Carey abandons the vehicle, fleeing into the woods and into the arms of Julie, his best friend’s wife. Both pairs claim they can handle non-monogamy, but their attempts to save their relationships and preserve their dignity only make them look foolish.

The film’s dialogue suggests that hypocrisy isn’t confined solely to intimate moments; it permeates other aspects of life as well. The decision to use naturalistic cinematography may not have been the best choice, as it makes some of the script’s humorous scenes seem a touch too mumblecore in nature. However, there is an exceptional scene where Carey forms friendships with Ashley’s lovers and a fight that escalates beyond expectations. Characters don’t merely lose their dignity; they also lose their eyebrows. – AN

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Along the Croisette, Ari Aster’s film ‘Eddington’, featuring Joaquin Phoenix and Pedro Pascal, as well as a powerful directorial debut by Harris Dickinson (best known for ‘Babygirl’), garners significant interest.

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‘Urchin’

28-year-old actor Harris Dickinson made his debut at Cannes Film Festival in 2022 as the lead in Ruben Östlund’s “Triangle of Sadness.” This year, he returns to Cannes with his own film, “Urchin,” and it turns out he’s not just a talented actor but also a promising director. In “Urchin,” Dickinson takes on a supporting role as a streetwise, wallet-stealing vagrant, but it’s his warm and generous spirit that truly stands out. The film’s leading role is given to Frank Dillane, who delivers an exceptional performance as the complex character Mike, who is lively, moody, and violent. As a director, Dickinson breathes life into even the smallest characters, making every actor feel like they could carry their own movie. “Urchin” is full of self-assuredness without a hint of condescension, and it has a witty sense of humor, beginning with a street preacher peddling her Bible app. — AN

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‘Yes’

In simple and engaging language: You can’t help but focus on the dynamic duo, Yasmin (Efrat Dor) and Y (Ariel Bronz), who embody the vibrant hipster scene of Tel Aviv. She’s a fiery, seductive character, he’s an energetic musician, and their chemistry lights up any gathering, even when it becomes a bit excessive. They earn their living by currying favor with the wealthy and influential. In just the first 10 minutes, they are asked to attend to a wealthy woman’s ears. After the events of October 7 and everything that followed, their hangovers seem unbearable. Israeli director Nadav Lapid’s bold and captivating film, “Yes,” pulses with dance beats and the sound of people trying to escape their pain. It is the first significant movie to confront the distressing mental toll of enjoying a beautiful day amidst news of horrors happening elsewhere. Perhaps you can identify with this experience. – AN

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2025-05-25 02:31

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