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Yahoo
25-05-2025
- Entertainment
- Yahoo
13 Best Movies at Cannes 2025
'Is this the most political Cannes festival since 1968?' asked a headline in a Hollywood Reporter article, shortly before the 2025 film fest's halfway mark. It's a legit question. Historians may remember that '68 was the year that protests rocked the Croisette, filmmakers occupied the Palais, four jury members resigned, and the official competition was eventually shut down by organizers. Nothing of that magnitude happened at this year's Cannes, which concluded yesterday — though there was a five-hour blackout right before the closing ceremony that, it was suggested by local media, might not have been accidental per se. More from Rolling Stone Mia Threapleton Idolized Wes Anderson. Then She Became the Breakout Star of His New Movie 'Titan': See Trailer for Netflix Doc That Dives Deep Into OceanGate Disaster Martin Scorsese's Career Goes in Front of Camera for Five-Part Apple TV+ Documentary But you could feel a sense of instability and unease in the air, made all the more potent by a certain authoritarian president's threat to level '100-percent tariffs' on movies produced outside of the U.S. Throw in Robert De Niro trolling the POTUS by name at his honorary Palme d'Or speech during the opening night's ceremonies, and close to a dozen films playing throughout the main fest's lineups (and Cannes-adjacent festivals) that directly took aim at both past and present fascist regimes, political strife, and the overall sense of IRL doomscrolling that is our collective reality right now, and it was hard not to wonder if the answer to that query was, to quote the title of one of the more incendiary films in the 2025 edition, 'YES!' Cinema continues to be a passport, an empathy machine, a way of bridging the gap between cultures and regions, a way of letting you walk kilometers in other peoples' shoes a million times over. That was readily apparent to those of us stuck in the bubble of cinephilia that Cannes offered, especially since that bubble was anything but impermeable to everything happening elsewhere in the world. And while the baker's dozen of movies that we'd argue were the best that this Cannes had to offer weren't all explicitly political, they all served to underline that fact that the movies continue to be both an urgent reflection and a necessary refraction of the world around us. Here are our picks for the highlights of this year's festival. (And some quick shout-outs to: The Chronology of Water, The Plague, The Sound of Falling, Two Prosecutors, and Urchin.) The opening night movie of Semaine de la Critique — a side festival that, like Directors' Fortnight, runs parallel to Cannes yet has also been folded into the main event; it's complicated — Belgian filmmaker Laura Wandel's medical procedural takes what might have been an E.R. subplot involving a doctor (Léa Drucker) and a single mother (Happening's Anamaria Vartolomei), going head to head over the care of the latter's son (Jules Desart) after a court ruling, and uses it to examine how institutional protocols can both protect and cause irreparable harm. Like Wandel's previous film Playground (2021), this dual character study knows how to dig into a hot-button social issue and peel back the layers in a way that seems intimate instead of dogmatic. And it's also the perfect showcase for both actors, especially Drucker; paired with her turn in the competition entry Dossier 137, this year's festival makes a strong case for the César winner being one of the best French actors currently 2025 festival certainly had its share of Cannes-troversies (if we never get roped into another heated discussion about Julia Ducournau's hot mess Alpha ever again, it will be too soon). Ari Aster's fever dream of an Op-Ed on American carnage circa right-fucking-now had the honor, however, of being the single most divisive film in this year's edition. Which, frankly, fits Aster's crackpot vision of a nation fatally at odds with itself — a macro-narrative boiled down to a showdown between a sheriff (Joaquin Phoenix) and a mayor (Pedro Pascal) in a small, fictional town in New Mexico. Here, all progressivism is performative, all red-pilled right wingers are one red cap away from going full MAGA, all painful personal experiences are ripe for political exploitation, all both-sides misanthropy is dialed up to 11. What starts as a broad parody soon reveals itself to be a paranoid conspiracy thriller eerily attuned to our country's center-cannot-hold bad vibes. We're still processing the overabundant all of it. We can't wait to see it 11th hour addition to the festival's Midnight Selection (a far better place for it than the special screenings or competition lineups, to be honest), the sophomore entry in Ethan Coen and Tricia Cooke's self-proclaimed 'lesbian B-movie trilogy' centers around one Honey O'Donoghue (Margaret Qualley) — a crime-solving, wisecracking gumshoe trying to figure out who left a burnt corpse in the New Mexico desert. The case soon turns out to be anything but open and shut, and ends up involving a popular local preacher (Chris Evans), mobsters, missing teens, and a mysterious French femme fatale (Lera Abova). Unlike the duo's seven-car pile-up Drive-Away Dolls (2024), this still somewhat messy attempt to mix Coen-esque mayhem with Sapphic erotica shakes the ingredients into a far more satisfying cocktail; you'll likely be talking about the sex scene between Honey and Aubrey Plaza's tough-talking cop for a while. What really earns it a place here is the way Qualley turns this private investigator into an update of an old noir staple that's equal parts screwball and hardboiled. It's some of the best work she's ever done, and we'd gladly watch a whole other trilogy just devoted to this sultry, take-no-shit if Jafar Panahi's extraordinary revenge parable hadn't won the Palme d'Or (and made him one of the very few filmmakers to take home the top prizes at Berlin, Venice and Cannes), it would still be considered a major victory: This was the first time in over 20 years that the politically persecuted Panahi had walked the red carpet at the festival. Seriously, you'd have thought Mick Jagger had entered the building when the Iranian writer-director walked into the Lumière for the movie's premiere. The overall premise is simple: A man (Ebrahim Azizi) finds his family trip interrupted when his car breaks down. A mechanic (Vahid Mobasseri) thinks he recognizes him as the person who tortured him for years in prison. He abducts the traveler, and then proceeds to round up several other former inmates to confirm that he is indeed the culprit. It plays at times like a nailbiting thriller, an elliptical road movie, and a sort of backstage farce revolving around a payback killing instead a theatrical production. Every moment of it attests to the work of a master, however, right down to one sublime gut punch of a final shot. The win was more than deserved. Set in 1993 Nigeria, Akinola Davies Jr.'s drama follows two preteen brothers (Godwin Egbo, Chibuike Marvellous Egbo) who go on a rare trip from rural Nigeria to Lagos with their father (Sope Dirisu) as he tries to collect backpay. Over the course of a day, they get to know him in a way that opens their eyes regarding their dad's long absences from home. The turmoil surrounding the presidential election of MKO Abiola, however, is about to come to a full boil. Partially a memory film of sorts — even if you didn't know that the director wrote it with his brother, or that one of the boys shares his first name, it feels achingly personal — and partially one of those films that frames historical upheavals through the eyes of children, this is the sort of discovery that reminds you why Cannes' Un Certain Regard section devoted to new filmmakers is such a vital part of the Peck returns to the festival with a look at George Orwell's transformation from a cog in Britiain's colonialist machinery (he served on the police force in Burma in the 1920s) to political critic, essayist and world-renowned author of Animal Farm and 1984. Had the filmmaker merely delivered a documentary on the writer's radicalization and warnings about power, corruption, and lies this would still make for essential viewing. But he goes several giant steps further, borrowing the expansive design of Exterminate All the Brutes (2021) and connecting the dots between those two dystopian novels, the 20th century's totalitarian regimes, and the ways in which history tends to repeat itself. Like, say, in contemporary America. It's a virtual firehose of doubleplusbad information on how fascism insidiously takes hold, collapsing the gap between then and now in a way that's damn near overwhelming. You would not call the outlook 'good.' You would recognize this dour primer as absolutely vital at this particular moment in could technically craft a behind-the-scenes recreation of the making of Jean-Luc Godard's gamechanging debut feature Breathless. Only Richard Linklater could turn it into a glorious hang-out movie, in which you get to ride shotgun with the critic-turned-cineaste-in-sunglasses as he and his fellow band of film-mad outsiders make history 24 frames per second. The way Linklater identifies everyone from 1960s Cahiers du Cinéma legends (Chabrol, Rivette, Truffaut, Rohmer) to deep-cut scenesters, then gathers all of the players together feels a little like he's making The Avengers for the hardcore Letterboxd crowd — here's all your favorite superheroes of the French New Wave, assembled for one great big collective adventure. Guillaume Marbeck's take on Godard as a quote-spouting enfant terrible is priceless; Zoey Deutch chronicling Jean Seberg's conversion from skeptic to true believer is sublime; Aubry Dullin's Jean-Paul Belmondo is one big, goofy grin of a tribute. (Our vote for MVP: Matthieu Penchinat's comic interpretation of Breathless cinematographer Raoul Cotard.) Pure Anderson scores big with this mix of corporate-espionage thriller, slapstick comedy, and father-daughter family drama, centered around Anatole 'Zsa Zsa' Korda (Benicio Del Toro), international business-magnate of mystery. He's trying to make sure his dream project involving a multinational transport system becomes a reality before he's assassinated by rivals; if he can also mend fences with his estranged daughter (Mia Threapleton), who wants nothing to do with her dad and yearns to become a nun, that's simply a bonus. It's got all the usual hallmarks of an Anderson project, from an all-star ensemble cast to the meticulously composed imagery that's made him a film-nerd idol. But this new film gels in a genuinely satisfying way that several of his recent works haven't. And it gifts us with a real discovery in Threapleton, whose deadpan reactions, comic timing and chemistry with Del Toro make this feel like there's a heart beating underneath it in Brazil circa 1977 — 'a time of great mischief' — Kleber Mendonça Filho's portrait of a fugitive (Narcos' Wagner Moura, who won the Best Actor prize) feels like its setting you up for a paranoid political thriller. It soon adopts a kitchen-sink approach that incorporates everything from outré horror-movie sketches (watch out for that hairy, dismembered killer leg!) to musings about the joys of remembering old movie theaters. You can tell this is the same filmmaker who made the pointed, character-driven drama Aquarius (2016), and co-directed the modern exploitation-cinema nugget Bacurau (2019), as well as the person who penned the elegiac love letter to Brazilian cinema, Pictures of Ghosts (2023). Yet the scope and ambitiousness of this extended period piece feels new for him, and a cryptic aside around the halfway mark soon turns into a revelation about what Filho has been chasing all along: the passage of time, and how it never really heals any or all closest thing to a consensus pick for the best movie at the festival — you could practically hear the whoops of joy across the pond when this won the Grand Prix — Joachim Trier's family drama continues his winning streak after the highly praised The Worst Person in the World (2021) hit his creative reset button. It also reminded many of us why we initially fell in love with the Norwegian filmmaker's work in the first place, dating back to his gobsmacking first feature Reprise (2006). Once again working with his longtime cowriter Eskil Vogt and his TWPITW star Renate Reinsve, Trier carefully constructs a morality tale around a once-prominent movie director (Stellan Skarsgård) hoping to make a comeback with a new project. He offers the role based on his daughter to his actual daughter, an anxiety-prone stage actor (Reinsve) with a grudge against dad. Then he decides to cast an American movie star (Elle Fanning) instead, and film the whole thing in their actual family house. Fanning wore a 'Joachim Trier Summer' t-shirt during the movie's photocall. That season can't come soon of the early breakout sensations of the festival, Oliver Laxe's woozy, epic thriller plops a concerned father (Sergi López) into the middle of the Moroccan desert, as he tries to find his missing daughter amidst the nomadic hipsters frequenting underground trance-music concerts. You initially brace yourself for a riff on The Searchers, redone for the 21st-century rave-scene set. Then things take an extremely lysergic, extra-dark turn, and suddenly everything plunges into pure nightmare territory. No movie made better use of music and sound design as a way of immersing viewers into a world that somehow simultaneously utopian and dystopian, and you'll want to see this in a theater with the best speaker get-up possible. A trip, in too many ways to who doesn't love a Thai movie about possessed household appliances and horny ghosts fucking everybody in sight? The winner of the big prize at this year's Semaine de la Critique, Ratchapoom Boonbunchachoke's unclassifiable, truly wackadoo mix of comedy and supernatural shenanigans starts with a factory accident that traps the spirit of a dead worker into a vacuum cleaner. It ends with a moving meditation on memory, grief, and the lengths one will go to keep a deceased loved one from going gently into the night. In between all of this is a number of hilarious vignettes involving randy machinery, some sideways class commentary, a haunting (in more ways than one) performance from Thai actor Davika Hoorne, and a shit-ton of paranormal sex. No filmmaker Nadav Lapid has always cast a critical eye on his country's political stances and social policies — see: Policeman, Ahed's Knee, Synonyms… his whole filmography, really. His latest will not win him any friends among the more conservative side of the tracks back home. A songwriter (Ariel Bronz) and his wife (Efrat Dor) enjoy every hedonistic pleasure that's available to the nation's military, media and right-wing elite. When he's asked to write an anthem extolling the nation's moral superiority, he takes the gig. Soon, the combination of that commission and reconnecting with an old musical partner/friend-with-benefits (Naama Preis) begets a serious crisis of faith. It's an angry scream-into-the-void of a movie, and one that rages against the normalization of daily atrocities and escalating death tolls blaring out from people's phones. Not even the gonzo early scenes of sex, drugs, and dance battles with a gaggle of army generals can temper the sting. 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Forbes
25-05-2025
- Entertainment
- Forbes
Neon, Mubi, A24: The Buyers That Won Cannes 2025
Cannes Film Festival 2025 The Cannes Film Festival is officially over and last night's list of winners is already giving us an overview of the next awards season. While some movies are still looking for a home, the biggest titles of this year's edition such as Die My Love, Sentimental Value, Palme d'Or's winner It Was Just An Accident, Sirat or The Mastermind, quickly became the most coveted titles on the Croisette and inside the Marché du Film. Over the years, Neon has become an incredibly powerful buyer and the possibility that they might get their 6th Palme d'Or in a row became a reality last night, when It Was Just An Accident, directed by Jafar Panahi, was announced by the President of the Jury, Juliette Binoche. After Anora, Anatomy of a Fall, Triangle of Sadness, Titane and Parasite -movies that all led a major awards season- Panahi's film as well as Joachim Trier's Sentimental Value, which won the Grand Prix at Cannes last night, are already some of the strongest contenders that Neon just added to an already impressive track record. On top of these two films, Neon also acquired the rights to Oliver Laxe's Sirat, winner of the Jury Prize last night, Kleber Mendonça Filho's The Secret Agent, who won the Best Director award, Julia Ducournau's Alpha, Michael Angelo Covino's Splitsville and Raoul Peck's Orwell: 2+2=5. However, the first big sale that everyone was talking about on the Croisette last week came from Mubi, which acquired the rights to Lynn Ramsay's Die My Love, starring Jennifer Lawrence and Robert Pattinson for $24 million. These past few years, Mubi led a strong awards season by acquiring some big titles during the Cannes Film Festival, like Coralie Fargeat's The Substance last year, and Magnus Von Horn's The Girl with the Needle. This year, the distributor also acquired the rights to the Palme d'Or winner for the distribution in Latin America, U.K., Ireland, Germany, Austria, Turkey and India. Mubi will also distribute Sirat in Italy, Turkey and India. Another big buy from Mubi was last night's second winner of the Jury Prize -a tie with Sirat- The Sound of Falling directed by Mascha Schilinski. On top of that, Mubi also acquired The History of Sound, directed by Oliver Hermanus and starring Paul Mescal and Josh O'Connor, and Kelly Reichardt's The Mastermind, also starring O'Connor. For now, A24 will distribute Ari Aster's Eddington, Spike Lee's Highest to Lowest, and Harry Lighton's debut feature Pillion, starring Alexander Skarsgard and Harry Melling, which won Best Screenplay in the Un Certain Regard competition. This article will be updated as additional sales are announced.
Yahoo
25-05-2025
- Entertainment
- Yahoo
Cannes Gives Warm Welcome to Dardennes and ‘Young Mother's Home'
In what has become a familiar sight on the Croisette, Belgian directors Jean-Pierre and Luc Dardenne strolled up the red carpet to present their new film to a welcoming crowd. The Dardennes' latest, The Young Mother's Home premiered early Friday evening, marking the brothers' ninth entry in Cannes competition. The Dardennes almost never leave Cannes empty-handed. More from The Hollywood Reporter 'Resurrection' Review: Director Bi Gan's Beguiling, Beautifully Realized Journey Through the Life, Death and Possible Rebirth of Cinema 'Woman and Child' Review: An Unwieldy Iranian Melodrama Sustained by Great Performances and a Gifted Young Director Cate Blanchett, Afghan, Syrian Creators on Fund for Displaced Directors Backing "Surprising Narratives" Casual with suits and no ties (the early afternoon screenings are not mandatory black-tie), the Dardennes strolled up to the premiere accompanied by their somewhat more excited (and better dressed) young stars: Lucie Laruelle, Babette Verbeek, Elsa Houben, Janaïna Halloy Fokan and Samia Hilmi. Warm, enthusiastic applause rolled over the auditorium in waves as the film credits rolled, and the Dardennes embraced their co-stars. The young actresses wiped away tears. Laruelle, who plays Perla in the film, was visibly shaking with emotion, before joining her co-stars in a group hug. The film, while containing all of the raw realism the Dardenne's are known for, is also uncharacteristically warm and optimistic, touches that left the Cannes audience smiling on their way to the exits. French director Luc Besson and Belgian filmmaker Lukas Dhont (Closer) were also at the premiere. Twice the Dardennes have gone home with the Palme d'Or — for Rosetta (1999) and L'Enfant (2005) — and their festival trophy case includes best director honors for Young Ahmed (2019), the Grand Jury Prize for The Kid With a Bike (2011), best screenplay for Lorna's Silence (2008), and, for Tori and Lokita in 2022, a special prize honoring Cannes' 75th anniversary. The Young Mother's Home is another slice of Belgian social realism from Dardennes. Set in a shelter for young mothers, the film follows five women — Jessica, Perla, Julie, Naïma, and Ariane — as they navigate the challenges of early motherhood while striving for a better future for themselves and their children. The cast features Lucie Laruelle, Babette Verbeek, Elsa Houben, Janaïna Halloy Fokan, and Samia Hilmi, with India Hair portraying a key supporting role. Best of The Hollywood Reporter Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV
Yahoo
25-05-2025
- Entertainment
- Yahoo
American Pavilion Announces Full Programming Schedule for Cannes 2025
The 2025 Cannes Film Festival gets underway this week, which means that the world's biggest filmmakers will be descending upon the Croisette to debut their latest works. It also means that the American Pavilion (AmPav) is rolling out a predictably robust lineup of educational programming aimed at providing an inside look at the film industry to students and seasoned veterans alike. Taking place at the Roger Ebert Conference Center from May 14-22, AmPav's series of conversations and panels will see the likes of Spike Lee, Michael Angelo Covino, and Vicky Krieps sitting down to share their words of wisdom with festival attendees. There will also be specialty programming such as California Day, a series of panels aimed at promoting film production in California; and House Party, a two-day summit aimed at elevating global perspectives in film. More from IndieWire With 'Left-Handed Girl,' Sean Baker's Longtime Producer Shih-Ching Tsou Is Ready 'to Come Back to the Director's Seat' Horror Movie Legend Veronica Cartwright Returns to Her Hitchcockian Roots with 'The Ruse' IndieWire will also debut its inaugural Future of Filmmaking Summit at AmPav, which will feature a keynote address by Richard Linklater, a a one-on-one conversation with Mubi head of global distribution Arianna Bocco, and panels about the future of international production and AI. 'We're excited to welcome such an extraordinary group of filmmakers, talent, and industry leaders to The American Pavilion,' AmPav founder and president Julie Sisk said in a statement. 'From icons like Spike Lee and Richard Linklater to visionary voices shaping the future of film, these conversations offer our members, students, and Emerging Filmmaker Showcase entrants a rare opportunity to engage with the people pushing cinema forward.' All events require both a festival pass and AmPav membership to attend. The full programming schedule, which remains subject to changes and additions, can be found below. WEDNESDAY, MAY 14 11:00 AM INDUSTRY IN FOCUS: PR PROS As the media landscape shifts, so does the art of film publicity. Seasoned publicists pull back the curtain on how they craft narratives, build buzz, and navigate press strategy, offering candid insight into a side of filmmaking that's as crucial as it is often misunderstood. Emma Griffiths / President / EG PR RJ Millard / President / Obscured Pictures Hilda Somarriba / Vice President / 42West Moderated by Sylvia Desrochers / EVP / MPRM Communications 1:00PM INDUSTRY IN FOCUS: MARKETING MAGICIANS In a shifting film landscape, smart marketing is essential. Industry experts share key strategies—from festival positioning and theatrical rollouts to digital campaigns and grassroots outreach—that can shape a film's success from start to finish. Karina Gechtman / VP International Marketing & Publicity / Anton Kenny Gravillis / Chief Creative Director / Gravillis Inc Julie La'Bassiere / Chief Strategy Officer / DDA Mounia Wissinger / SVP Global Marketing & Publicity / Protagonist Pictures Moderated by Stewart Clarke / SVP, Content, International / Deadline 6:00 PM Open to all American Pavilion members Presented by Savannah College of Art and Design (SCAD) THURSDAY, MAY 15 CALIFORNIA DAY AT THE AMERICAN PAVILION11:45 AM INDIEWIRE: FUTURE OF FILMMAKING The Future of International Distribution: MUBI in FocusComing off a successful year that began with the launch of 'The Substance' at the Cannes Film Festival, MUBI is riding high as the most promising international streaming entity with a global cinephile reach. The company recently hired veteran distribution executive Arianna Bocco, who ran acquisitions at IFC Films for nearly 20 years, as its SVP of Global Distribution. Bocco will share her insights on the increasing value of international territories in distribution strategy and how the landscape has changed. Arianna Bocco / SVP of Global Distribution / MUBI Moderated by Anne Thompson / Indiewire 12:30 PM FILMING IN CALIFORNIA – THE OPPORTUNITIES AND THE MISCONCEPTIONSThis conversation will unpack persistent myths about filming in California, while spotlighting success stories and underutilized opportunities throughout the state. Panelists will offer insights into California's robust incentives, infrastructure, and creative ecosystem—underscoring why it remains a premier destination for film and television production. Colleen Bell / Executive Director / California Film Commission Jeff Morris, Chief Marketing Officer, West Hollywood Travel + Tourism Board Janet Zaldua, CEO, Marina Del Rey Tourism Board Robert Bibeault, Chief Marketing Officer, Beverly Hills Conference & Visitors Bureau Michal Zebede / Writer, Producer, Director Moderated by Dana Harris / Editor-In-Chief / Indiewire 2:00 PM FILMMAKING ACROSS DECADES – INSIGHTS FROM SEASONED STORYTELLERSA conversation with experienced producers and filmmakers reflecting on their careers, lessons learned, and the evolving landscape of film production. Panelists will also share their perspectives on shooting in California and the value of sustaining a vibrant production community in the state. Jon Kilik / Independent Feature Film Producer Jonathan King / President / Closer Media Ray Maiello / Co-Founder / Radiant Media Studios Moderated by Aaron Couch / The Hollywood Reporter 6:00 PM Open to all American Pavilion members FRIDAY, MAY 16 11:00 AM INDIEWIRE: FUTURE OF FILMMAKING The Future of International ProductionAs production faces increasing budgetary challenges in the U.S., more and more projects are migrating abroad. We will hear from veteran producers and financiers about how to navigate the opportunities and challenges of international co-productions. Emily Korteweg / Producer / Splitsville Andrew Hevia / Head of North American Production / Fabula Caroline von Kuhn / Executive Director / Oxbelly Moderated by Dana Harris / Indiewire 12:30 PM INDUSTRY IN FOCUS: INDEPENDENT FILM FINANCE From tried-and-true methods to emerging models, industry leaders share what's working now, the challenges they're navigating, and new approaches shaping the future of film financing. Jonathan Bross / Managing Partner / Ashland Hill Media Finance Lia Buman / Principal, Co-Founder / Tango Grégoire Gensollen / COO / Tucker Tooley Entertainment Marc Iserlis / Head of Film / Republic James Pugh / Chief Operations Officer / Protagonist Pictures Moderated by Harris Tulchin / Producer, Attorney, Author / Harris Tulchin & Associates 2:00 PM INDUSTRY IN FOCUS: U.S. DISTRIBUTION Explore the evolving distribution landscape for independent films in the U.S.—from traditional theatrical releases to digital platforms, hybrid models, and new kinds of partnerships. Industry experts share what's working, how they've adapted, and how they're preparing for an unpredictable future. Howard Cohen / Co-President / Roadside Attractions Dr. Alicia Kozma / Director, Indiana University Cinema / Board of Directors, Art House Convergence Lisa Schwartz / Chief Distribution and Revenue Officer / Kino Lorber Scott Shooman / Head of IFC Entertainment Group Moderator TBA 4:00 PM WARTIME UKRAINIAN CINEMA, PROSPECTS AND CHALLENGES Presented in Partnership With the Ukrainian Pavilion This event will feature presentations, video materials, and discussions with Ukrainian and international film experts. Topics will include wartime co-productions, distribution analytics, institutional support, and the challenges of filming under fire. Speakers will share real-life experiences, present new projects, and explore opportunities for collaboration to support and promote Ukrainian cinema during the ongoing war. Enrico Vanucci / Deputy Head / Euroimage Fund Andriy Nohin / Head of NGO 'UKRKINOFEST' / CEO UnitedContentHUB Michel Plazanet / Deputy director of European and international affairs / CNC Pylyp Illienko / Chairman / Ukrainian Film Academy Akhtem Seitablaiev / Director, Producer, Actor, and Serviceman (AFU) Moderated by Andriy Khalpakhchi / President / Kyiv International Film Festival 'Molodist' 4:00 PM SNEAK PEEK OF:HANGING BY A WIRE — HOSTED BY EVERWONDER STUDIO & MINDHOUSE, AMERICAN PAVILION TERRACE Exclusive preview of 'Hanging By A Wire,' from acclaimed director Mohammed Ali Naqvi. This cinematic thrill ride tells the story of a daring rescue that captivated the world. Mo will share the behind-the-scenes process of transforming a real-life survival story into an edge-of-your-seat experience. SATURDAY, MAY 17 11:00 AM INDUSTRY IN FOCUS: BUILD YOUR AUDIENCE, OWN YOUR FUTURE As the independent film landscape evolves, more filmmakers are finding that taking charge of their audience engagement, and often their own distribution, is key to long-term success. This conversation explores real-world strategies for connecting with viewers and building a sustainable career in today's industry. Ted Hope / Producer / Double Hope Films Lela Meadow-Conner / CEO mamafilm / Co-Founder, The Popcorn List / President, Art House Convergence Richa Rudola / Filmmaker, Cow Heavy And Floral / Co-Founder, Meals About Motherhood Moderated by Sylvia Desrochers / EVP / MPRM Communications 12:30 PM INDUSTRY IN FOCUS: DOCUMENTARIES This annual conversation brings together acclaimed filmmakers and industry leaders to examine the current state of documentary storytelling—how these vital films are being developed, financed, and distributed, and how audiences are engaging with them in an increasingly uncertain landscape. Vanessa Hope / Director, Producer / Double Hope Films Jon Kamen / Chairman, CEO / RadicalMedia Catherine Quantsschnigg / Producer, Sales / Noah Media Group Joe Tufano / VP of Distribution / Submarine Entertainment Moderated by Matt Carey / Documentary Editor / Deadline, Doc Talk Podcast 1:30 PM INDUSTRY IN FOCUS: DEVELOPMENT TO PRODUCTION From first pitch to festival premiere, the path from development to production is anything but linear. In this candid conversation, seasoned producers and executives share how they build a slate, choose the right projects, and navigate the creative and strategic challenges of getting films made—and made well. Steven Adams / Manager, Producer / Alta Global Media Kara Durrett / President & Head of Film / Pinky Promise Ryan Heller / EVP Film & Documentary / Topic Studios Lizzie Shapiro / Producer at The Space Program Moderated by Mia Galuppo / The Hollywood Reporter 2:30 PM INDIEWIRE: FUTURE OF FILMMAKING Keynote Chat: Richard LinklaterModerated by Eric Kohn / Indiewire 3:30 PM HOUSE PARTY: GOLD HOUSE Fireside Chat: Lloyd Lee Choi & Nina Yang Bongiovi A fireside chat about independent film, first-time feature directing, and producing projects with unique perspectives with Cannes 2025 Directors' Fortnight filmand producer Introduction by Christine Yi / VP / Gold House SUNDAY, MAY 18 11:00 AM INDIEWIRE: FUTURE OF FILMMAKING How to Survive and Thrive in the Age of AIThe acceleration of artificial intelligence in recent years has led to rampant fears across the entertainment industry, some more founded than others. However, AI isn't going away – and its progress relates to broader changes to the future of storytelling as a whole. On this panel, we'll hear from creatives and executives about how to make the most of a new era defined by dramatic technological change. Edward Saatchi / Founder and CEO / Fable Studios Kiira Benzing / Founder / Double Eye Studios Seth Piezas / NVIDIA/Prezense Liz Rosenthal / Venice Immersive Luc Jacquet / Filmmaker/CannesXR Jury President Paul Trillo / Partner / Asteria Film Co. Moderated by Eric Kohn / Indiewire 12:30 PM HOUSE PARTY: ARAB FILM & MEDIA INSTITUTE AFMI Presents Women Leading Change Through Storytelling Celebrate the contributions of trailblazing women filmmakers who boldly champion global voices through their dynamic work. Our panelists will share the barriers they have overcome, how they challenged industry norms, and what it takes to open doors for future generations of storytellers. Cherien Dabis / Director, Actress, and Screenwriter Nia DaCosta / Director and Screenwriter Iman Zawahry / Director / Film Programs Director at ISF Moderated by Hanna Flint / Film critic, Writer, and Author 2:00 PM HOUSE PARTY: THE IMPACT LOUNGE Reaching the Right Eyes: Finding and Growing Audiences for Impact Films How do you connect a meaningful film to the right audience? This panel explores innovative strategies—social media campaigns, membership guilds, direct-to-theater tech, and global platforms—that are reshaping impact film distribution. Learn from industry leaders how to build buzz and reach the people who want to see your film most. Jared Geesey / Chief Distribution Officer / Angel Studios Justine Barda / Founder and Director / Telescope Film Selina Ringel / Filmmaker and Actor / Two Hands Productions Owen Williams / Producer and Founder / Harpoon Media Moderated by Heather Mason / Founder / The Impact Lounge 3:00 PM IN CONVERSATION: MICHAEL ANGELO COVINO Acclaimed filmmaker Michael Angelo Covino joins us for an intimate conversation about his journey from indie shorts to Cannes success with 2019's 'The Climb' and this year's 'Splitsville.' From directing and acting to producing, we'll discuss his collaborative creative process and the bold, emotionally honest storytelling that defines his work. Moderated by Eric Kohn 4:00 PM HOUSE PARTY: EASTERSEALS Reimagining Hollywood: A New Lens on Disability A deep dive into the state of disability inclusion in entertainment—progress, wins, and the path ahead—focused on advancing authentic representation on and off screen. A collaborative effort between industry and community driving inclusive change. Nic Novicki / Actor, writer, producer / Founder of the Easterseals Disability Film Challenge Nancy Weintraub / Chief Advancement Officer / Easterseals Southern California Moderated by Keith Simanton / Managing Editor / IMDbPro MONDAY, MAY 19 11:00 AM HOUSE PARTY: GLOBAL STORYTELLING Stories grounded in cultural and geographic specificity often have the widest reach. This conversation explores how filmmakers create work that resonates globally by embracing their roots, along with the creative potential and challenges of telling culturally nuanced stories across borders. Ṣọpẹ́ Dìrísù / Actor / My Father's Shadow, Cannes Film Festival, Official Selection Richard Lorber / Chairman / Kino Lorber Fawzia Mirza / Writer, Director / The Queen of My Dreams Frida Torresblanco / Producer / Hangtime Pictures Moderated by Nancy Tartaglione / Deadline 12:30 PM HOUSE PARTY: WHY THESE STORIES MATTER – REPRESENTATION IN HOLLYWOOD Authentic, inclusive storytelling remains essential. This conversation looks at why representation in Hollywood still matters, the progress made, the challenges ahead, and how industry leaders can help shape a more equitable narrative landscape. Andria Wilson Mirza / Senior Consultant, Entertainment / GLAAD Heather Rae / Producer / Mountain Daughter Media Daphne Schmon / Founder & Executive Director / Breaking Through the Lens Moderator TBA 2:00 PM IN CONVERSATION: VICKY KRIEPS Acclaimed actress Vicky Krieps (Phantom Thread, Corsage) joins us to discuss her latest role in 'Love Me Tender,' premiering at Cannes 2025. Known for her nuanced performances and fearless role choices, Krieps will share insights into her artistic journey, the challenges of portraying complex characters, and her approach to storytelling across diverse cinematic landscapes. 6:00 PM Open to all American Pavilion members TUESDAY, MAY 20 12:00 PM INDIEWIRE'S 'SCREEN TALK' PODCAST IndieWire's weekly Screen Talk podcast has delved into the biggest questions facing the film industry for years. For this special live episode, join Screen Talk hosts Anne Thompson and Ryan Lattanzio,along with special guest NEON's CEO Tom Quinn, for a spirited discussion about festival buzz, awards season, and the future of cinema itself. Anne Thompson / IndieWire Ryan Lattanzio / IndieWire Tom Quinn / CEO / NEON 1:00 PM IN CONVERSATION: SPIKE LEE Join legendary filmmaker Spike Lee for a candid conversation about his storied career and 'Highest 2 Lowest,' his bold new film from A24 and Apple Original Films premiering at Cannes 2025. Moderated by Darrien Michele Gipson / Executive Director / SAGindie EMERGING FILMMAKER SHOWCASE 3:30-6:00 PM – LGBTQ+ Screenings Presented by Gold House 9:00 PM–1:00 AM Queer NightAn LGBTQ+ dance party open to all Festival and Marché badge holders WEDNESDAY, MAY 21 11:00 AM INDUSTRY IN FOCUS: SHORT FILMS Short films play a vital role in the film ecosystem—as creative calling cards, festival breakouts, and platforms for bold ideas. This conversation looks at how shorts can launch careers, build momentum, and offer unique opportunities for experimentation and storytelling. Joecar Hanna / Filmmaker, Talk Me / La Cinef, Cannes FF Sandra Lipski / Founder and Festival Director / Evolution Mallorca International Film Festival Joanne Moore, J.D. / Dean of the School of Film & Television / Loyola Marymount University Kaitlyn Mikayla / Filmmaker, Ragamuffin / Sundance Film Festival Moderated by Scott Macaulay / Co-Founder, Editor-In-Chief / Filmmaker Magazine 1:00 PM INDIEWIRE CRITICS' PANEL Join IndieWire's Chief Film Critic David Ehrlich and a panel of leading international film critics for a no-holds-barred conversation about the best and worst of Cannes 2025, the state of the film industry at large, and the realities of writing about it for a living. The conversation will be followed by an audience Q&A session. David Ehrlich / IndieWire Guilherme Jacobs / Omelete Robert Daniels / Sophie Monks Kaufman / Freelance EMERGING FILMMAKER SHOWCASE 3:00 PM-5:30 PM – Emerging Filmmaker Student ScreeningsPresented by Gold House 5:30 PM-7:30 PM Emerging Filmmaker Screenings Presented by Gold House Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
Bloomberg
24-05-2025
- Entertainment
- Bloomberg
The 15 Best Films From Cannes 2025
Hello! I'm Esther Zuckerman, a film critic for Pursuits, and I've just spent about two weeks at the Cannes Film Festival, which ends tonight. So what does that mean? Well, I saw more than 30 films in the lineup (including some pre-screenings back at home in New York), I drank a lot of rosé, I went to a bunch of beach parties, and I have a lot of opinions. Cannes is a festival known for its impossible glamour. After all, the premieres are black-tie affairs with strict dress codes. (This year nudity and volume were banned.) Meanwhile, anywhere you look on the Croisette you might see a celebrity. I never caught sight of Charli XCX, but she was bouncing around and chronicling her opinions on Letterboxd. I did spot Jason Momoa walking down the street, and he was massive. But for all the silliness outside the venues, inside the movies are typically extreme and intense.
