
Kristen Stewart's Directorial Debut, The Chronology Of Water, Joins Cannes Lineup In Un Certain Regard
The Cannes Film Festival is back with its 78th edition, featuring exciting new titles. Recently, new films were added to the lineup, including Lynne Ramsay-directed Die, My Love, starring Jennifer Lawrence and Robert Pattinson. The film, based on Ariana Harwicz's novel, follows Lawrence's character, a new mother struggling with love and madness, while her husband remains unaware of her situation. Kristen Stewart is also on the list with her directorial debut, The Chronology of Water, adapted from Lidia Yuknavitch's memoir. The film explores Yuknavitch's journey of healing from abuse through swimming.
Reportedly, Lawrence and Pattinson's film will be part of the main competition, alongside Edington by Ari Aster, The History of Sound by Oliver Hermanus, Woman and Child by Saeed Roustaee and The Mastermind by Kelly Reichardt, among others. Meanwhile, Stewart's first film as a director will be featured in the Un Certain Regard section. Other films in this section include Homebound by Neeraj Ghaywan, Once Upon a Time in Gaza by Arab and Tarzan Nasser, Promised Sky by Erige Sehir and Love Me Tender by Anna Cazenave Cambet.
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Time of India
41 minutes ago
- Time of India
Nivin Pauly steps into LCU as villain: When we cast actor from other languages, they add a different colour to the film, says director Bakkiyaraj Kannan
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Pink Villa
14 hours ago
- Pink Villa
Dakota Johnson Turns to Revenge Dress Fashion After Splitting From Chris Martin Post 8 Years of Dating
Dakota Johnson is channeling her inner Princess Diana, and it's everything we're looking for and more. Stepping out amid her promotions for the upcoming romance film Materialists, the actress donned a sheer, black dress, stunning everyone with her ease and charm shortly after her split from Chris Martin. It was recently reported that the couple decided to break off their engagement after being together for 8 years. Dakota Johnson's Princess Diana Connection Going out and about her business in New York City on Thursday, the Fifty Shades of Grey actress made a bold statement with her all-blake fit, truly taking more than just one page out of the Princess of Wales' style book. Known as the infamous 'revenge dress', the British star had also worn an all-black ensemble to supposedly take revenge on her husband, Prince Charles, who is said to have cheated on her with Camilla, by showing her just what he had given up on. Dakota Johnson, on the other hand, was drenched in luxury, smiling at the paparazzi and her fans waiting outside The Greenwich Hotel before riding off in her car for more promotional activities. It is one of the first few outings from the 35-year-old, who is said to have separated from the Coldplay frontman after being in love for 8 years. The duo is also rumored to have gotten engaged secretly many years ago, with recent spottings making their break-up news all the more unbelievable. Chris Martin and Dakota Johnson were spotted all loved up and cozy as recently as the 2025 Cannes Film Festival, which saw her stepping onto the red carpet multiple times, taking over the internet with her fun style. It is not known as to why the couple decided to part ways, but a source close to the couple told PEOPLE that this time felt like it was 'final'. Meanwhile, the actress is currently in the middle of promoting her upcoming romance film Materialists. Chris Evans and Pedro Pascal take spots as her co-stars in the heavily anticipated love triangle.


Deccan Herald
15 hours ago
- Deccan Herald
'It Was Just an Accident' Cannes review: Jafar Panahi's latest is a suspenseful political drama
Jafar Panahi's 'It Was Just an Accident' emerged as the most politically urgent and emotionally devastating entry, earning the veteran Iranian filmmaker the prestigious Palme d'Or award at the Cannes Film Festival this year. Yet, the film's resonance goes far beyond awards. It is both a powerful work of cinematic art and a defiant act of resistance — crafted in secrecy, brimming with moral complexity, and deeply rooted in the personal and political trauma of Iran's recent film opens with a mundane incident that quickly spirals into a moral crucible. A family — husband Eghbal (Ebrahim Azizi), his pregnant wife, and their daughter — accidentally hit a dog on a dark road. Their car breaks down, and they take refuge at a garage where the attendant, Vahid (Vahid Mobasseri), hears the creak of Eghbal's prosthetic leg. The sound triggers Vahid's memory of being tortured in prison; he is convinced this man is "Peg-leg," the interrogator who brutalised him and others under the Iranian regime. Driven by a thirst for vengeance, Vahid abducts Eghbal and prepares to bury him alive. But doubt soon emerges — is this truly the man who tormented him? .What follows is a suspenseful, often darkly comic odyssey that unfolds over the course of a single day. Vahid assembles a group of fellow victims — Shiva, a photographer; Goli and Ali, a couple interrupted mid-wedding shoot; and Hamid, a volatile former detainee — to verify Eghbal's identity. Each character brings their trauma and perspective, and their debates — whether driven by rage, resignation, or uncertainty — form the moral backbone of the brilliance of Panahi's script lies in its refusal to offer clarity. We, like the characters, are blindfolded — uncertain of the truth, forced to wrestle with our assumptions and sympathies. Is Eghbal the perpetrator? And if he is, does vengeance restore justice — or simply perpetuate the cycle of violence? .Thematically, 'It Was Just an Accident' echoes Panahi's own life. Since 2010, he has faced imprisonment, house arrest, and a ban on filmmaking imposed by the Iranian government. Yet, he has continued to make films in secret, turning limitations into artistic innovation. The film is imbued with the urgency and emotional charge of someone who has suffered but remains defiant. .While rooted in Iran's political reality, the film transcends its immediate context. Panahi's film confronts the impossibility of closure for survivors of state violence. The blindfold motif — used both literally and symbolically — underscores how justice is often obscured, reliant on memory, interpretation, and 'It Was Just an Accident' is not merely a grim reckoning. Panahi interweaves moments of absurdity and dark humour: a bride in full gown pushing a van, debates over bribe payments made via contactless card readers, and exasperated arguments about the cost of vengeance. These comic detours do not undercut the film's gravity; instead, they humanise the characters and reveal the surreal logic of life under authoritarian rule. The long extended standing ovation Panahi received at the festival after the film's stunning conclusion, was considered by many as less like applause and more like solidarity. The jury's decision to award him the Palme d'Or was not only an artistic endorsement but also a symbolic act — recognising the risks he took, the message he delivered, and the bravery of creating such a film under oppressive conditions. .The final scenes, marked by a long static take and a crescendo of emotional unraveling, are unforgettable, but could have been avoided in terms of aesthetic principles of keeping open the dilemmas of human situation. Though they encapsulate the fragility of truth, the brutality of memory, and the ambiguity of justice, confirming the identity of the perpetrator and his rather lame confessions could appear prosaic. But that doesn't lessen the final impact of the film. Rather than offering resolution, Panahi leaves us with questions —about ourselves, about systems of power, and about how pain lingers across is a film of political resistance, moral inquiry, and cinematic excellence. It reminds us that cinema, even when made in defiance of tyranny, can illuminate, challenge, and change the world — or at the very least, its viewers.