From Cannes 2025: Five standout films you should watch next
With the Cannes Film Festival acting as a very early awards season indicator, these are the most acclaimed and notable films to put on your Must Watch List in 2025.
The Cannes Film Festival is about more than Riviera-side schmoozing, 15-minute standing ovations and their booing flipside (plus the new addition of lengthy blackouts). The iconic film festival is an early indicator of potential award season contenders.
Last year alone, Anora, which took home the festival's highest honour, the Palme d'Or, went on to win five Academy Awards, including Best Picture. Fellow Oscar winners The Substance, controversial Emilia Pérez, and Animated Feature upset Flow all premiered at Cannes. Notably, before that, Bong Joon-ho's Parasite made the journey from Palme d'Or to Academy Award in 2019-2020, while legal drama-mystery Anatomy of a Fall picked up Best Original Screenplay at several awards ceremonies following its 2023 Palme d'Or win.
The point is that it pays to keep an eye on what stands out at Cannes, whether competing (see the full 2025 winner's list here) or simply screening.
These are the premieres from the 78th Festival de Cannes that you should keep a lookout for at local cinemas and film festivals in the coming months.
Anti-authoritarianism earns accolades
Film has always been a powerful medium to critique social and political injustice, and this year the Cannes main competition jury seemed eager to reward those movies vocal about power abuse and despotism.
Case in point: the 2025 Palme d'Or went to It Was Just an Accident, from Iranian director Jafar Panahi, who has repeatedly been hit with filmmaking bans, travel restrictions and prison sentences from his country's authorities. Acclaim for It Was Just an Accident doesn't appear to be performative, though. Narratively straightforward, accessible, but also thought-provoking, the film sees an apparent everyman kidnapped by people who suspect that he may have been their prison torturer. Can they overrule their doubts and take revenge?
Honourable mention: The only film to earn two awards at Cannes this year, The Secret Agent also features anti-totalitarian themes. Scoring Best Director for Kleber Mendonça Filho, and Best Actor for Narcos' Wagner Moura, The Secret Agent is a genre-hopping Brazilian thriller that explores how Carnival was used as a front in the 1970s to make the then-military dictatorship's opponents disappear.
The latest auteur efforts
For decades, the Cannes Film Festival has been catnip for the world's most acclaimed filmmakers. This year was no different, with Wes Anderson debuting his latest quirky all-star effort, The Phoenician Scheme, a few days before it comes to US cinemas on 30 May.
Benicio del Toro plays a 1950s industrialist who, in the middle of a spate of assassination attempts, names his estranged daughter (Mia Threapleton), a nun, as his heir. The good news is that if you found Anderson's last few efforts over-styled and underwhelming, The Phoenician Scheme is apparently a return to enjoyable form. Largely thanks to Threapleton.
Honourable mention: Spike Lee and Denzel Washington reunite for the first time in almost 20 years for Highest 2 Lowest, an English-language reinterpretation of Akira Kurosawa's High and Low. Washington plays a successful New York City record producer forced into a ransom scenario that tests his morals. The film is already lined up for an Apple TV+ debut on 5 September.
Queer experience on screens
The Cannes Film Festival is always welcoming of LGBT+ content, even having an independent Queer Palm accolade for films that excel in their depiction of non cishet experience.
There were several contenders for the award in 2025 (it eventually went to The Little Sister), but the most intriguing is the rule-bending romance Pillion. Described as a gay version of Babygirl, this directorial debut from Harry Lighton sees Harry Potter's Harry Melling enter into a sub/dom relationship with Alexander Skarsgård's aloof biker. It's kinky but also tender in its exploration of consensual power dynamics within a relationship.
Honourable mention: South African filmmaker Oliver Hermanus, who previously made the likes of Moffie and Queer Palm winner Beauty (AKA Skoonheid), debuted historical gay romance The History of Sound at Cannes this year. Paul Mescal and Josh O'Connor star as two men who connect over their mission to record American folk music circa World War I. The comparisons to Brokeback Mountain are there by default.
A quick second shout-out also must go to Honey Don't!, a consciously B-grade detective comedy from Ethan Coen, which sees Margaret Qualley's lesbian private investigator hook up with Aubrey Plaza's cop. Charlie Day and Chris Evans also star.
Of families and generations
It's been called Arthouse with a capital A, but historical drama Sound of Falling, from German filmmaker Mascha Schilinski, emerges from Cannes heralded as something boldly original due to its storytelling approach – which dips into and interweaves the lives of four girls on a farm in northern Germany over the course of a century. It turns out that women's experience doesn't really change, with trauma having a way of seeping through time.
Considered a grim watch, Sound of Falling was a tied winner of the Jury Prize (alongside Sirat), which is typically bestowed on up-and-coming filmmakers seen as driving the industry forward creatively.
Honourable mention: The Grand Prize is Cannes's second highest honour and that went this year to Sentimental Value, from festival favourite Joachim Trier. Could this Norwegian drama, about the complex relationship between sisters, and daughters and fathers, finally earn Stellan Skarsgård an Oscar nomination?
Also worthy of a Must Watch List spot is My Father's Shadow, the first ever Nigerian film to make it onto the festival's Official Selection. In his feature debut, British-Nigerian director Akinola Davies Jr. has told a semi-autobiographical tale with his brother Wale, set against the backdrop of the 1993 Nigerian election. Siblings spend a day with their estranged father (Sope Dirisu) and learn surprising things. The film earned a Camera d'Or Special Mention.
One to talk about
Finally, if you're looking for the most divisive movie release of Cannes 2025, that dubious honour has to go to Eddington, the latest from Hereditary, Midsommar, and Beau Is Afraid filmmaker Ari Aster.
Is it an escalating parody of American divisiveness? Does it actually harbour MAGA leanings as it jeers at mask mandates and other liberal ideas? With a wider release set for July, you'll have to watch this moody modern Western, which pits Joaquin Phoenix's small-town sheriff against Pedro Pascal's mayor in the early days of the Covid pandemic, with their friends and neighbours taking sides, and things turning violent. DM
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Daily Maverick
2 days ago
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From Cannes 2025: Five standout films you should watch next
With the Cannes Film Festival acting as a very early awards season indicator, these are the most acclaimed and notable films to put on your Must Watch List in 2025. The Cannes Film Festival is about more than Riviera-side schmoozing, 15-minute standing ovations and their booing flipside (plus the new addition of lengthy blackouts). The iconic film festival is an early indicator of potential award season contenders. Last year alone, Anora, which took home the festival's highest honour, the Palme d'Or, went on to win five Academy Awards, including Best Picture. Fellow Oscar winners The Substance, controversial Emilia Pérez, and Animated Feature upset Flow all premiered at Cannes. Notably, before that, Bong Joon-ho's Parasite made the journey from Palme d'Or to Academy Award in 2019-2020, while legal drama-mystery Anatomy of a Fall picked up Best Original Screenplay at several awards ceremonies following its 2023 Palme d'Or win. The point is that it pays to keep an eye on what stands out at Cannes, whether competing (see the full 2025 winner's list here) or simply screening. These are the premieres from the 78th Festival de Cannes that you should keep a lookout for at local cinemas and film festivals in the coming months. Anti-authoritarianism earns accolades Film has always been a powerful medium to critique social and political injustice, and this year the Cannes main competition jury seemed eager to reward those movies vocal about power abuse and despotism. Case in point: the 2025 Palme d'Or went to It Was Just an Accident, from Iranian director Jafar Panahi, who has repeatedly been hit with filmmaking bans, travel restrictions and prison sentences from his country's authorities. Acclaim for It Was Just an Accident doesn't appear to be performative, though. Narratively straightforward, accessible, but also thought-provoking, the film sees an apparent everyman kidnapped by people who suspect that he may have been their prison torturer. Can they overrule their doubts and take revenge? Honourable mention: The only film to earn two awards at Cannes this year, The Secret Agent also features anti-totalitarian themes. Scoring Best Director for Kleber Mendonça Filho, and Best Actor for Narcos' Wagner Moura, The Secret Agent is a genre-hopping Brazilian thriller that explores how Carnival was used as a front in the 1970s to make the then-military dictatorship's opponents disappear. The latest auteur efforts For decades, the Cannes Film Festival has been catnip for the world's most acclaimed filmmakers. This year was no different, with Wes Anderson debuting his latest quirky all-star effort, The Phoenician Scheme, a few days before it comes to US cinemas on 30 May. Benicio del Toro plays a 1950s industrialist who, in the middle of a spate of assassination attempts, names his estranged daughter (Mia Threapleton), a nun, as his heir. The good news is that if you found Anderson's last few efforts over-styled and underwhelming, The Phoenician Scheme is apparently a return to enjoyable form. Largely thanks to Threapleton. Honourable mention: Spike Lee and Denzel Washington reunite for the first time in almost 20 years for Highest 2 Lowest, an English-language reinterpretation of Akira Kurosawa's High and Low. Washington plays a successful New York City record producer forced into a ransom scenario that tests his morals. The film is already lined up for an Apple TV+ debut on 5 September. Queer experience on screens The Cannes Film Festival is always welcoming of LGBT+ content, even having an independent Queer Palm accolade for films that excel in their depiction of non cishet experience. There were several contenders for the award in 2025 (it eventually went to The Little Sister), but the most intriguing is the rule-bending romance Pillion. Described as a gay version of Babygirl, this directorial debut from Harry Lighton sees Harry Potter's Harry Melling enter into a sub/dom relationship with Alexander Skarsgård's aloof biker. It's kinky but also tender in its exploration of consensual power dynamics within a relationship. Honourable mention: South African filmmaker Oliver Hermanus, who previously made the likes of Moffie and Queer Palm winner Beauty (AKA Skoonheid), debuted historical gay romance The History of Sound at Cannes this year. Paul Mescal and Josh O'Connor star as two men who connect over their mission to record American folk music circa World War I. The comparisons to Brokeback Mountain are there by default. A quick second shout-out also must go to Honey Don't!, a consciously B-grade detective comedy from Ethan Coen, which sees Margaret Qualley's lesbian private investigator hook up with Aubrey Plaza's cop. Charlie Day and Chris Evans also star. Of families and generations It's been called Arthouse with a capital A, but historical drama Sound of Falling, from German filmmaker Mascha Schilinski, emerges from Cannes heralded as something boldly original due to its storytelling approach – which dips into and interweaves the lives of four girls on a farm in northern Germany over the course of a century. It turns out that women's experience doesn't really change, with trauma having a way of seeping through time. Considered a grim watch, Sound of Falling was a tied winner of the Jury Prize (alongside Sirat), which is typically bestowed on up-and-coming filmmakers seen as driving the industry forward creatively. Honourable mention: The Grand Prize is Cannes's second highest honour and that went this year to Sentimental Value, from festival favourite Joachim Trier. Could this Norwegian drama, about the complex relationship between sisters, and daughters and fathers, finally earn Stellan Skarsgård an Oscar nomination? Also worthy of a Must Watch List spot is My Father's Shadow, the first ever Nigerian film to make it onto the festival's Official Selection. In his feature debut, British-Nigerian director Akinola Davies Jr. has told a semi-autobiographical tale with his brother Wale, set against the backdrop of the 1993 Nigerian election. Siblings spend a day with their estranged father (Sope Dirisu) and learn surprising things. The film earned a Camera d'Or Special Mention. One to talk about Finally, if you're looking for the most divisive movie release of Cannes 2025, that dubious honour has to go to Eddington, the latest from Hereditary, Midsommar, and Beau Is Afraid filmmaker Ari Aster. Is it an escalating parody of American divisiveness? Does it actually harbour MAGA leanings as it jeers at mask mandates and other liberal ideas? With a wider release set for July, you'll have to watch this moody modern Western, which pits Joaquin Phoenix's small-town sheriff against Pedro Pascal's mayor in the early days of the Covid pandemic, with their friends and neighbours taking sides, and things turning violent. DM
IOL News
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The other side of motherhood: Jennifer Lawrence opens up about postpartum isolation
Jennifer Lawrence wearing custom Dior off white silk taffeta based on the Poulenc dress from 1949. Image: Supplied: Jennifer Lawrence in custom Dior Jennifer Lawrence, known for her fearless roles in films like "The Hunger Games", is now speaking out about a battle that many women endure in silence: postpartum depression. With an unfiltered honesty that's rare in Hollywood, Lawrence shared her personal journey during a press conference at the Cannes Film Festival for her latest movie, "Die, My Love". Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. 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Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ The film, which explores the unravelling of Grace, a new mother battling postpartum depression and psychosis, hit particularly close to home for Lawrence. 'As a mother, it was really hard to separate what I would do as opposed to what (Grace) would do. And it was just heartbreaking,' Lawrence revealed, per "Variety". Lawrence, now a mother of two, including her 3-year-old son Cy and a newborn whose name has not been disclosed, admitted that the experience of motherhood and her role as Grace blurred into one. She described postpartum as an isolating and overwhelming experience, a reality she says many fail to fully understand. 'There's not really anything like postpartum,' Lawrence said. 'It's extremely isolating, which is so interesting because everyone tells you, 'Oh, it's the most natural thing in the world.' But the truth is, extreme anxiety and extreme depression are isolating, no matter where you are. You feel like an alien.' Lawrence's candour speaks a truth that is often minimised, that the emotional toll of postpartum depression doesn't discriminate. Whether you're a Hollywood star or a stay-at-home mom, the feelings of isolation and despair can be all-consuming. In "Die, My Love", Lawrence's character is physically isolated in Montana, but Lawrence points out that the emotional isolation of postpartum goes far deeper. 'She doesn't have her community, she doesn't have her people. But even if you do, postpartum anxiety and depression can make you feel completely alone,' she explained. Motherhood: brutal yet transformative For Lawrence, motherhood has been a paradox of extremes. 'It changes everything,' she said, reflecting on how her children have reshaped her life and career. 'It's brutal and incredible.' The 'Mother!' star revealed that becoming a parent influences every decision in her life, from the roles she takes to where and how she works. 'It's almost like feeling a blister so sensitive. I didn't know I could feel so much. My job has a lot to do with emotion, and having kids has changed me creatively in ways I never expected. I highly recommend having kids if you want to be an actor,' she said. In a 2023 chat with "Interview Magazine", Lawrence spoke about how motherhood amplified her anxiety and intrusive thoughts. 'I didn't have that much security before I had a kid, but once I had one, with my intrusive thoughts and anxiety, I wanted us to have security around all the time,' she said, as reported by "Yahoo Life". For many mothers, the pressure to live up to the idealised version of motherhood can feel suffocating, especially when compounded by postpartum depression, anxiety, or societal expectations to 'just give it time'. Lawrence's story is not just a personal confession; it's a rallying cry for greater awareness and empathy around postpartum depression. Too often, new mothers are told that 'motherly instinct will kick in' or that their struggles are temporary. These platitudes dismiss the depth of their suffering and prevent a broader conversation about the support they need. For mothers experiencing postpartum depression, the stakes are incredibly high. It's not just hair loss, cracked teeth, or physical exhaustion, it's the loss of self, the suffocating melancholy, and the feeling that you're utterly alone in a world that expects you to glow with maternal joy. At 34, Lawrence continues to balance her thriving career with her role as a mother, fiercely protecting her children's privacy while using her platform to advocate for mental health awareness. Her decision to speak out about postpartum depression and anxiety is a powerful reminder that even the most successful women are not immune to these struggles. While Lawrence and her art gallery director husband, Cooke Maroney, have kept their children out of the public eye, her willingness to share her experience as a mother offers a beacon of hope for others. Her message is clear: postpartum depression is real, isolating, and often devastating. But with open dialogue and greater understanding, mothers can begin to find the support they deserve. Whether you're a mother, an advocate, or simply someone looking to better understand the challenges others face, motherhood is not just a journey of joy; it's one of resilience, vulnerability, and, ultimately, connection. We need to stop minimising postpartum struggles and start listening.
IOL News
4 days ago
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South Africa at Cannes: A Story of Overlooked Talent and Systemic Barriers
French actor and master of ceremony Laurent Lafitte (L) gestures on stage as Iranian director and screenwriter and producer Jafar Panahi (C) poses on stage with Australian actress Cate Blanchett (centre L) and French actress and president of the jury of the 78th Cannes Film Festival Juliette Binoche after winning the Palme d'Or for the film "Un simple accident" (A Simple Accident) during the closing ceremony at the 78th edition of the Cannes Film Festival in Cannes, southern France, on May 24, 2025. Image: Valery Hache / AFP The Cannes Film Festival remains synonymous with Hollywood glamour, it also serves as a vital platform for lesser-known filmmakers and actors to gain recognition for their exceptional work often produced on budgets far smaller than those of major studios. This year was particularly remarkable for Middle Eastern cinema. The prestigious Palme d'Or was awarded to Iranian writer-director Jafar Panahi for his gripping thriller "Unsimple Accident," filmed without approval from the Islamic Republic. Meanwhile, "Once Upon a Time in Gaza" won Best Director in the Un Certain Regard section, and Iraqi filmmaker Hassan Hadi took home the Camera d'Or for "The President's Cake." French-Algerian actress Nadia Melliti earned Best Actress for her role in "The Little Sister," and Palestinian director Tawfeek Barhoum won the Palme d'Or for Short Film with "I'm Glad You're Dead Now." These triumphs highlight not only the exceptional craftsmanship of Middle Eastern cinema but also the global fascination with authentic, auteur driven stories from the Islamic world. In the festival's 78-year history, only two South African films have been selected for the Cannes Official Selection. This year, Oliver Hermanus' "The History of Sound," a privately funded gay period drama starring Paul Mescal and Josh O'Connor, competed in the main selection. Based on the eponymous short story, the film marks South Africa's second appearance in the Cannes Official Selection. The first was Elaine Proctor's "Friends" (1993), a poignant drama about three women from different factions of South African society sharing a house in Johannesburg at the twilight of apartheid. Notably, 'Friends" is written and directed by a woman, shot by a female cinematographer (Dominique Chapuis), and featuring a predominantly female cast, received an Honourable Mention for the Camera d'Or. This was a monumental achievement, especially considering that, in its 78- year history, only 82 women directors have been included in Cannes' Official Selection. Today, Proctor is a critically acclaimed novelist based in the UK. Video Player is loading. 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Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ As a writer-director, I was inspired by Proctor's legacy. After completing the screenplay for my feature "Two Hues," I reached out to her, and to my delight, she responded. She agreed to direct the film—pending funding—after reviewing the script and offering valuable feedback. For any writer, such validation is invaluable. Bolstered by Proctor's involvement, I applied for funding through South Africa's National Film and Video Foundation (NFVF). Despite her prestige, my applicationswere rejected. Through conversations with industry insiders, I learned that the NFVF has, over the past five years, prioritised a select group of producers and directors, maintaining a status quo that sidelines independent voices, no matter their merit. This raises serious concerns about transparency, panel selection, and equitable processes. Since its inception in 1999, the NFVF has been mandated to promote equity and inclusion in South African cinema. Yet, in 26 years, it has never funded a single South African film selected for The Cannes Official Selection. Instead, millions of rands are spent annually on sending delegations to Cannes, hosting events, and maintaining a presence at the festival, now reduced from a pavilion to a mere stand. In 2018, my documentary "District Six: Rising from the Dust" was showcased at the Marché du Film. While I initially underestimated its significance, the South African press recognised its impact, given its exploration of forced removals and District Six's history. Navigating Cannes alone was daunting. The festival's overwhelming Hollywood-centric atmosphere, red carpets, star-studded premieres, and industry giants, made it clear that independent and documentary filmmakers operate on the periphery. However, I eventually found my footing at Cannes Docs (then Doc Corner), where Pierre-Alexis Chevit expressed interest in my work and proposed a South African showcase for the following year. Back home, I facilitated an introduction between the NFVF and Cannes Docs, only to face exclusion from the subsequent call for submissions. Fortunately, Cannes Docs intervened with a direct invitation, forcing the NFVF to include me. Yet, at the festival, our delegation received no logistical or promotional support, no pitch training, no introductions, and notably no attendance from NFVF leadership, despite their presence at Cannes. This neglect stood in stark contrast to the robust support other nations, like Palestine, provided their filmmakers. In recent years, the NFVF has funded one documentary annually for a Cannes Docs spotlight— without an open industry call. Instead, selections are made in collaboration with Encounters Documentary Festival, raising concerns about fairness and transparency. Why should a festival funded by the NFVF gatekeep such opportunities? This year (2025), the NFVF was conspicuously absent from Cannes, with only the IDC and KZN Film Commission representing South Africa. In a letter to the NFVF Council, Minister Gayton McKenzie denied travel approval for NFVF, urging compliance with the NFVF Act, which mandates that 75% of its budget be allocated to film production. As an industry, we continue advocating for structural reform, transparent processes, adherence to legislation, and better support for intellectual property. Only then can South African filmmakers truly compete on the global stage. Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. Image: Supplied * Weaam Williams is a multiple award-winning filmmaker, actress and tech founder. ** The views expressed do not necessarily represent those of Independent Media or IOL.
