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Time Magazine
23-05-2025
- Entertainment
- Time Magazine
The 12 Best Movies of the 2025 Cannes Film Festival
Of the roughly 35 films I saw across 10 days, here are the standouts of Cannes 2025. In terms of the competition films, at least, this has been one of the most enjoyable, well-built slates I've seen in the 15 years or so that I've been attending the festival. There's always something you're going to miss; one of the tragedies of being human is that we can't be in two places at once. But then, one of the delights of being human is sitting down, turning off your phone, and for once not multitasking, instead giving yourself fully to the vision before you on the screen. Some of the films and performances mentioned here will surely shape the conversation come Oscar time. And though it may be a while before some of the less-flashy films on this list become viewable, in some form, in the United States, seeking them out will widen your world, as it has mine. Nouvelle Vague Richard Linklater's agile, witty, elegant picture about the making of a movie that possibly only film lovers and bona fide old people care about— Jean-Luc Godard's cannon-shot of a debut, 1959's Breathless —may end up being appreciated by only about 2.6 percent of the general population. Who would make a picture like that? Only someone who cares. Nouvelle Vague, part of the Cannes competition slate, is the ultimate inside-baseball making-of movie. But even more than that, it's a picture that stands strong on the side of art, of history, of working to solve the puzzle of things that maybe at first you don't fully understand. It's both a shout of joy and a call to arms. It's all about the bold, muscular act of caring. [ Read the full review. ] The History of Sound Oliver Hermanus' romantic melodrama divided critics here at Cannes, not because it was daring or controversial but because, it seemed, the filmmaking was viewed as too restrained and conventional, maybe even snoozy. That's what I love about it: there's a quiet lushness to this story of a romance between two music scholars, played by Paul Mescal and Josh O'Connor, one a Kentucky country boy, the other a New England sophisticate, who meet at the New England Conservatory on the eve of World War I and fall in love, discreetly, as would have been necessary at the time. Both share an interest in old folk music, and they take a trip together to the backwoods of Maine, meeting average citizens and collecting, by recording on wax cylinders, the songs these people have been carrying in memory for generations. The performances are remarkable, particularly Mescal's—just to watch him listening is galvanizing. The History of Sound has the polished texture of the 'Oscar movies' we used to get in the 1990s and early 2000s; it's perhaps more gentle than it is groundbreaking. But its landscape of longing and loneliness, mapped song by song, has a misty, welcoming beauty. Die, My Love Because so many Oscar front-runners have filtered through Cannes in the past few years, everyone who comes here is keeping an eye out for the next big sensation. Scottish filmmaker Lynne Ramsay's beautiful, brutal Die My Love probably won't tease the public's curiosity in the way last year's The Substance did—it's a much smarter, thornier movie about women's experience. But Jennifer Lawrence's terrific performance is something people are going to want to see and talk about. As Grace, a woman unmoored by postpartum depression, she goes not just to the edge but beyond it. Lawrence has had children herself, and her body shows it. She's no movie-star stick-figure; she has a dreamy earthiness, like a Rembrandt nude. Her face is round and plaintive; she's vulnerable-looking, like a baby Ellen Barkin. This is the kind of performance people call 'fearless,' for lack of a better word—I'm sure there is a better word, but who knows what it is? What Lawrence does in Die, My Love is so delicately textured, even within its bold expressiveness, and its fiery anger, that it leaves you scrambling for adjectives. It's the kind of performance you go to the movies for, one that connects so sympathetically with the bare idea of human suffering that it scares you a little, though it also makes you feel more exhilarated than drained. [ Read the full review. ] Amrum Turkish-German filmmaker Fatih Akin has made great films (the 2004 rock'n'roll redemption parable Head-On) and dismal ones (the grim serial-killer creepout The Golden Glove, from 2019). Amrum, which played out of competition at the festival, is a lovely departure for Akin, a film that explores how memories shape us—and how often we decide at an early age what type of person we're going to be. Set on the German island of Amrum in the North Sea in the final days of World War II, this is the story of Nanning (played by a wonderful young actor named Jasper Billerbeck), a boy on the cusp of adolescence, steeped in Hitler youth culture but gradually realizing he's been backing the wrong side. Still, he's so eager to please his fervent Nazi mother that he continues to go through the motions; his reckoning is sometimes bitterly funny to watch, though we can see how painful it is for him. The semiautobiographical script is by Hark Bohm, Akin's cowriter on his 2017 In the Fade; Diane Kruger, the star of that film, appears here as a sturdy island farmer, crucial to the islanders not just for the food she grows, but for her common sense in the midst of madness. Romería It's 2004, and 18-year-old Marina (Llúcia Garcia), who lost her parents to AIDS and drug addiction when she was six, treks from Barcelona to the coastal city of Vigo for two reasons: there's paperwork she needs to secure a scholarship for her studies (she hopes to become a filmmaker), but even more important, she hopes to unravel the secrets of the parents she barely knew. Shot in Galicia, a landscape of rocky coasts and salty-blue air, this loosely biographical third feature from Catalan filmmaker Carla Simón, part of the Cannes competition slate, has a wistful, earthy glow. This is graceful, quietly intelligent filmmaking—including a touch of unsentimental magic realism involving a wise and beautiful Norwegian Forest Cat. Two Prosecutors Maybe it's just the global mood of the day, but Ukrainian filmmaker Sergei Loznitsa's crisply made shaggy dog story, with its bleak sense of humor, somehow felt like the movie of the moment. It's 1937 Stalinist Russia: A desperate letter from an unjustly imprisoned man reaches a newly appointed local prosecutor (Aleksandr Kuznetsov). He vows to correct this injustice, jumping dutifully through every bureaucratic hoop until he can meet with the government bigwig who can help. Two Prosecutors, adapted from a 1969 novel by Georgy Demidov, is a bleak shout of futility that's also strangely, bitterly funny. If you didn't laugh, you'd cry. The Mastermind Kelly Reichardt's almost-a-comedy about a hapless art thief in 1970s Massachusetts—played, wonderfully, by Josh O'Connor—is a perceptive portrait of a guy who, after apparently coasting through life, coasts right into a figurative brick wall. Who wouldn't buy anything O'Connor, with his darling secret smile, tells them? Alana Haim plays his had-it-up-to-here wife; a scene in which he explains his motivation to her—everything he's done has been 'mostly' for her and the kids—is both gently funny and heartrending, not because he's lying to her, but because he believes every inadequate word. Young Mothers The Dardenne Brothers are such Cannes regulars that whenever their films show up in the competition slate, you expect a well-crafted, intimate drama that may be satisfying enough to watch in the moment, even if it doesn't really linger in memory. But Young Mothers, which follows four teenage mothers in a state-run home as they learn to care for their infants—or, more wrenchingly, learn to let go—is a quiet stunner. Like many of the Dardennes' films, it has a quasi-documentary feel; the girl's faces—and they are girls, despite being of child-bearing age—are open and vulnerable. One is fighting drug addiction—she swears to her wriggling infant that she's going to quit, though the reality is much harder than the vow. Another is trying to escape a cycle of poverty and abuse; she knows she can only do so much for herself, but she wants something far better for her daughter. This is a hopeful movie, not a depressing one. Even so, it tugs at you, long after the last frame. Urchin and The Chronology of Water The festival's Un Certain Regard section featured two films by young actors trying their hand at directing full-length features for the first time. Kristen Stewart's Chronology of Water —starring Imogen Poots and based on Lidia Yuknavitch's memoir about sexual trauma and substance abuse—is hardly a perfect film. But there's nothing timid about it. Stewart makes some bold choices here, refusing to sand down the jagged edges of this story even as she structures it in a way that doesn't send us spiraling into despair. And English actor Harris Dickinson, terrific in films like Babygirl and Triangle of Sadness, turns out to be a smart, promising director as well. In his debut film Urchin, which also premiered in Un Certain Regard, Frank Dillane plays a Londoner who's fallen through the cracks, drug-addicted and living on the streets; he resolves to clean up his life, with the usual pitfalls and some new ones. Dickinson has a light touch and a lively imagination, as well as a sense of humor; he takes material you think might be conventional and opens new windows of thinking. You could argue that it's 'easier' for famous young actors to make their first film. But if they're using their prestige and resources to make smart, inventive debuts? We all win. These are emerging filmmakers who refuse to be boring. Orwell: 2+2=5 Raoul Peck is one of our most valuable documentary filmmakers. Instead of just presenting us with information, he shows us ways of seeing, inspiring us to look for patterns and connections we might not have seen otherwise. That's the principle at work in Orwell: 2+2=5, which premiered here out of competition. You can know George Orwell's work backward and forward and still find something new here. Or you can be an Orwell neophyte and understand why, 75 years after his death, his ideas and preoccupations feel more modern than ever. Orwell worried in advance about the lives we're living today. Orwell: 2+2=5 makes the case for why we should be worrying, too. [ Read the full review. ] Sentimental Value Danish-Norwegian filmmaker Joachim Trier broke through in the United States in 2021 with The Worst Person in the World, starring the extraordinary Renate Reinsve as an uncompromising but not altogether 'together' young woman navigating romance, and life, and making lots of mistakes along the way. Trier and Reinsve return with the marvelous Sentimental Value, part of the Cannes competition: Reinsve and Inga Ibsdotter Lilleaas play sisters, raised in a sprawling yet cozy house that has been in the family for years, who are suddenly forced to reckon with the selfishness and self-absorption of their long estranged filmmaker father (Stellan Skarsgård). Sentimental Value strikes a slightly more somber note than Trier's previous film, but it's no less radiant. 'Tenderness is the new punk,' Trier said at the press conference for his film. Those may be our new words to live by.
Metro
23-05-2025
- Entertainment
- Metro
The History of Sound review - I loved Paul Mescal in this imperfect gay drama
The History of Sound was one of the most eagerly anticipated films out of Cannes for its depiction of an historic gay love story between characters played by Paul Mescal and Josh O'Connor. Director Oliver Hermanus delivers the romance in a poignant, beautifully-shot package – but it's smaller and slower than expected, even if it contains Mescal's finest onscreen work to date. Mescal plays Kentucky farm boy Lionel, blessed with a gifted voice – and synaesthetic response to music – strong enough to send him to a Boston music conservatory on a scholarship in 1917. There he meets Josh O'Connor's David, a genius-level composition student 'with a thousand songs in his head', after he plays a folk song from home that Lionel recognises. It turns out collecting songs is David's passion, with the meeting between his confident and slightly louche manner and Lionel's shyness and sincerity a sweet moment. That it turns sexual between the pair that evening is initially only hinted at, with moments such as them sharing the same glass before David invites Lionel into his bedroom – and it cuts to the next morning. And so begins a surprisingly happy but casual relationship between the pair, given the period, interrupted only when David is drafted to serve in World War One. With thousands of members from all over the world, our vibrant LGBTQ+ WhatsApp channel is a hub for all the latest news and important issues that face the LGBTQ+ community. Simply click on this link, select 'Join Chat' and you're in! Don't forget to turn on notifications! While embraces are later shown, The History of Sound is rather shy and prudish about sex, especially when given the emotionally vulnerable talents of its two lead actors. In some ways, yes, that matches it being a century ago – but it also somehow chafes against the nature of its passionate characters. The angst and emotion of their connection – and how they figure it out when David later invites Lionel on a folk song collection trip in the forests of Maine – is reminiscent of Brokeback Mountain. That's a big compliment to Mescal and O'Connor's natural chemistry, as well as the beautiful if ponderous way director Oliver Hermanus frames and shoots their relationship, even if this romance is not dealing with repression like Heath Ledger and Jake Gyllenhaal's film was. But it leaves you wanting more with its sometimes plodding structure and repetitive moments in the wild together. For a film called The History of Sound, I also didn't connect with the music as much as I expected. There's some lovely singing scenes, but far less of an abundance of folk music than anticipated given David's passion for it. Mescal, who has a pleasant voice, is also given the task of living up to Lionel's much-hyped stunning vocal talent every time he opens his mouth to sing; it feels like the film skirts around it to avoid that issue of exposure where it can. The History of Sound doesn't seem as concerned with music and its emotional impact as much as expected either, especially once David and Lionel's trip together is finished. Lionel's blessed career then takes him across the world – never seemingly impeded by his poverty – as he pines after David following their trip, while pursuing the adventures David wanted him to have. We follow him throughout the 1920s – the film is rigid in noting every date and location in a slightly unnecessary way – until Lionel decides to track down the man who has clearly become the love of his life. More Trending The revelations of The History of Sound's final act are moving and more engaging than other sections of the often slow-moving film. It fuels its poignant and reflective nature about the impact of a love still felt many decades later when Chris Cooper appears as an 80-something Lionel in a touching coda. Mescal and O'Connor do prove the captivating onscreen couple that all their fans hope they'd be, it's just a pity that The History of Sound doesn't provide as sweeping a canvas for them to paint as anticipated. The History of Sound premiered at Cannes Film Festival. It is yet to receive a UK release date. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Alpha review – I'm sticking up for gruelling French body horror that inspired walkouts MORE: The real story behind those '20-minute standing ovations' at Cannes Film Festival MORE: The 'must-watch' film of 2025 just received a 19-minute standing ovation at Cannes
Yahoo
22-05-2025
- Entertainment
- Yahoo
Iranian Director Saeed Roustayee on Making ‘Woman and Child' With a Government Permit and Hijabs: I Wouldn't ‘Have Been Able to Make a Film of This Scale Underground'
Iranian director Saeed Roustayee is back in Cannes with 'Woman and Child,' a female empowerment drama premiering in competition. The film follows a 40-year-old widowed nurse named Mahnaz, who is struggling with a rebellious son and other complications in a heavily oppressive patriarchal context. Roustayee's new work segues from the somewhat similarly themed 'Leila's Brothers,' which launched from Cannes in 2022 and led to the director being sentenced to jail time for screening the film without government approval, though Roustayee did not go behind bars. More from Variety Elle Fanning Declares 'Joachim Trier Summer' at Cannes Amid 'Sentimental Value' Raves, Says She's 'Grown in My Autonomy and Speaking Up' as an Actor 'The Six Billion Dollar Man' Review: Straight-Ahead Julian Assange Doc Looks Pessimistically Toward a Post-Truth World Paul Mescal Says Movies Are 'Moving Away' From 'Alpha' Male Leads, Calls It 'Lazy and Frustrating' to Compare 'History of Sound' to 'Brokeback Mountain' Paradoxically, even before 'Woman and Child' screened, the film came under fire — sight unseen — from some Iranian industry circles. They claimed that Roustayee sold out to the Iranian government because he produced the film with their permission, and also due to the fact that the women on screen all wear hijabs — which is not a realistic depiction of the current state of affairs given the widespread ongoing rebellion against the mandatory hijab rule across the country. Roustayee has been passionately defended against these accusations by fellow Iranian helmer Mohammad Rasoulof, who in May 2024 escaped from Iran to Europe after receiving a jail sentence from the country's authorities for making 'The Seed of the Sacred Fig,' which premiered at Cannes with the director in tow last year. Below, Roustayee speaks to Variety about navigating the complexities of moviemaking in his turbulent country and why he's not a sell out. After 'Leila's Brothers,' you've made another film about female empowerment. Is it fair to say you feel this theme has a special urgency, especially in Iran? Actually, 'Woman and Child' is my third film in a row that is really centered around women. And, if you notice, the female protagonists of these three films become gradually more and more independent. So whereas in 'Leila's Brothers,' Leila was independent but still counted on her brothers – she asked them to do things and so on – the protagonist of this film is completely set free of the borders that have been created for her. She acts alone. She decides alone. She decides when to forgive. She takes her revenge alone. She doesn't count on anyone. She doesn't ask for anyone's help, and she arrives to redemption alone also. The protagonist, Mahnaz, played by Parinaz Izadyar, is a struggling 40-something single mom. Do you consider her emblematic of what many Iranian women are going through today? Yes, I think there are many women like Mahnaz in Iran today. In fact, I can think of at least 10 of them around me in my personal life. I've sort of put them together, drawn inspiration from each one of them to create the character of Mahnaz. There are so many independent, often single, mothers in Iran today who have one, two, three children whom they support single-handedly. And indeed, similarly, we have many women who, in fact, support their own husbands. So it's even a question of economic independence, not just spiritual and practical independence. I always think of my job, or my filmmaking, this way. I learn from society in order to make films. I can't make films that don't draw most of their inspiration from society. Of course, then I add a bit of imagination. But I can't make a film about something that I haven't actually experienced or seen firsthand. This film sparked criticism even before being seen due to the fact that the women who appear in it are veiled. You have already made a statement about this, but can you talk to me about this choice? Shortly after 'Leila's Brothers' came out, the Women, Life, Freedom revolt took place in Iran, a movement spearheaded by women, but that gradually came to involve society as a whole. And it's a movement that, by the way, I've supported publicly. You can see that on my Instagram page, but also in terms of how I behave in society. One of the consequences of this movement is that it made people and the cinema industry much more sensitive about the whole matter of the mandatory headscarf in cinema. People were already sensitive about it and then it became even hotter as a topic. I've been observed very closely ever since 'Leila's Brothers' came out. As you may know, I've had court proceedings. The film has been accused of being one of the reasons that sparked the movement. And I was given a suspended six month prison sentence and five-year work ban, which means that if I make the slightest faux pas, I go immediately to prison and I can't make a film for five years. Whereas I certainly don't like showing women with headscarves in private spaces in Iran, I feel that there is much more attention focused on this at the moment and it was the only way I had to tell a story, considering the amount of surveillance. That, of course, involves everyone in Iranian cinema. All directors are being closely watched, but I'm under very close observation. To give you an example, during the shoot of 'Woman and Child,' production was actually shut down by the regime several times and I was brought in for questioning. Izadyar, the actress who plays the protagonist, gives a real tour-de-force performance. Talk to me about working with her on this film. I had a great experience working with Parinaz. I was looking for an actress who would dedicate at least six months to non-stop rehearsals, who would have both that type of availability and also generosity. Perinaz devoted, if not an entire year, at least 10 months without taking on any other jobs just to rehearse and then interpret Mahnaz. What was the rehearsal process like? It was very intense. We rehearsed every day in my production studio, at least eight hours a day, often 10 or even 16. And what I really wanted was an actress who would transform into the character of Mahnaz. So by the end, Perinaz, the actress was no longer Perinoz. She was Mahnaz, even in her personal life, even in her family life. You could see that by the time we got to the shoot. Yes, of course, there was mise- en-scene work, there was prepping, there was all of that. But she was already under the skin of the character. The process was so intense for her that her hair gradually became gray as the shoot progressed. At the end of the shoot, she had so many natural grays that we had to dye those black for continuity reasons. As I understand it, this film was shot with a permit, meaning that the screenplay was submitted for approval after your conviction and major opposition to your previous film. Can you talk to me about the process of getting it approved and getting it made? Regarding the choice to ask for a film permit to start with, this was not my choice. It's something that you have to do if you want to make a film on this scale. And I'd like to premise this by saying that if the situation were different in Iran, if we were in a country without a mandatory headscarf and without many other restrictions, I would've made the same film. Some of the details would have been different, maybe, in terms of what happens in private and certainly the women would be without the headscarf. But the story, the character journey and all of that would have been the same. In terms of shooting a film that is set largely in a hospital, largely in exteriors, that includes scenes shot in a high-school and so on, there's no way we could have made that without permits. And again, it was very difficult for me to get permits because I don't have a good reputation with the regime officials. They view me very badly. However, I'm very popular among the wider audience. And that's another reason why it was very important to me to make a film with permits, because it's the only way it can actually be screened in Iranian cinemas. And for me to show my films to Iranian audiences in Iranian cinemas is crucial. Especially because over the past few years, what you see in Iranian cinemas has really gone down the drain. There's a series of comedies, which I'd rather not talk about. But in terms of social cinema, it has basically disappeared. And then also lots of my cast and crew are people who are working in films made with permits. So if they were to come and work in a film without a permit, then they would be punished with the same work ban that I have been punished with, though the ban has been suspended. So it would cause lots of other problems. Now, of course, there are filmmakers making underground films without permits in Iran, who I have enormous respect for. And not just filmmakers, also casts and crews. But I don't see how I would have been able to make a film of this scale underground. I mean, it just would have been impossible. Now that 'Woman and Child' is completed, do you think it has good chances of playing in movie theaters in Iran? It all depends on how we play it from now on. [Iranian authorities] have to see the completed film. It will be seen at Cannes, and it also depends on what I say, on how I give interviews. If I say anything too oppositional, the film will not pass muster. This interview has been edited and condensed for clarity. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
22-05-2025
- Entertainment
- Yahoo
Neon Takes North America on Jafar Panahi's ‘It Was Just an Accident'
Neon has taken North American rights on revered Iranian auteur Jafar Panahi's Cannes competition title 'It Was Just an Accident,' which marks Panahi's first film since being released from prison in Iran. The film, starring Mariam Afshari, Ebrahim Azizi, and Vahid Mobasser, was greeted with a long standing ovation and is a Cannes standout title. More from Variety Paul Mescal Says Movies Are 'Moving Away' From 'Alpha' Male Leads, Calls It 'Lazy and Frustrating' to Compare 'History of Sound' to 'Brokeback Mountain' RAI Cinema Chief Paolo Del Brocco on Selling 'Heads or Tails' in Cannes and a New Victor Kossakovsky Doc Made With Italian Botanist Stefano Mancuso (EXCLUSIVE) 'Put Your Soul on Your Hand and Walk' Review: A Stirring Chronicle of a Gaza Journalist Who Was Killed Before Its Cannes Premiere 'It Was Just an Accident' centers around an outpouring of strong feelings by a group of former prisoners toward a torturous guard. 'When you spend eight hours a day blindfolded, seated in front of a wall, being interrogated by someone standing behind your back every day, you can't stop wondering what kind of conversation you can have with this man,' Panahi told Variety in one of his first interviews following his 14-year ban on making movies, speaking to the press and traveling. The film is produced by Jafar Panahi and Philippe Martin and co-produced by Sandrine Dumas and Christel Henon, with David Thion and Lilina Eche serving as associate producers. The film is a Les Films Pelléas and Jafar Panahi Production from Iran/France and Luxembourg. MK2 Films is representing international sales rights. The deal was negotiated by Neon's Sarah Colvin and Jeff Deutchman with MK2 Films' Fionnuala Jamison on behalf of the filmmakers. 'It Was Just An Accident' marks the second collaboration between Neon and Jafar Panahi, following 'The Year of the Everlasting Storm' which played in Cannes Special Screenings in 2021. Panahi is is considered one of his country's greatest living film masters. In 2010, the auteur — known globally for prizewinning works such as 'The Circle,' 'Offside,' 'This is Not a Film,' 'Taxi' and most recently 'No Bears' — was banned from making movies, speaking to the press and traveling, though he surreptitiously kept making them anyway. The ban was lifted in April 2023, and now Iranian authorities allowed him to travel to Cannes to launch 'It Was Just an Accident.' Last year in Cannes Neon picked up 'The Seed of the Sacred Fig' from Iranian filmmaker Mohammad Rasoulof, which went on to be nominated for a BAFTA and for Best International Feature at the 97th Academy AwardsThis year in Cannes, Neon debuted Joachim Trier's much lauded 'Sentimental Value' and Julia Ducournau's 'Alpha' in competition, and Raoul Peck's 'Orwell: 2+2=5' and Michael Angelo Covino's 'Splitsville' starring Dakota Johnson and Adria Arjona which Neon also produced. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Time of India
22-05-2025
- Entertainment
- Time of India
Paul Mescal, Josh O'Connor's ‘The History of Sound' earns 6-minute standing ovation at Cannes
and received a lot of praise and love at their film premiere at the . The actors' gay romance, titled ' ', received a lot of love and praise at its' premiere at the festival and even ended up receiving a 6-minute long standing ovation from the attendees, making it a historical moment for the actors as well as the creators of the film. Tired of too many ads? go ad free now 'History of Sound' gets 6-minute standing ovation, leaves fans weeping 'The History of Sound', made by Oliver Hermanus, South African film director and writer, received a long 6-minute standing ovation from the attendees of the movie premiere. The premiere was attended by , as O'Connor had to miss the event to film his part in Steven Spielberg's latest project, as per reports from Variety. The film brought fans and attendees of the event down to weeping and crying and managed to get its message across in the most beautiful way. The end of the premiere brought an emotional wave across the crowd as the director and the cast went on stage after the ending credits rolled in. Director Hermanus shared his thoughts on stage, stating that 'This has been one of the most wonderful creative collaborations of my very, very short career, but this has been a testament to the genius of Paul Mescal.' About 'The History of Sound' that drew emotions from the crowd Hermanus's 'The History of Sound' has been receiving a lot of critical praise. The film revolves around a short story of the same name written by screenwriter . The story is set in the year 1919 and revolves around the lives of two men (Paul Mescal and Josh O'Connor) who are dating one another and travel all the way to New England. Their journey begins with the idea of recording and making folk music and songs of their rural countrymen. The event was attended by fans and celebs alike. Some of the names that were present there in support of the film were , who is Paul Mescal's girlfriend, Jenny Slate, wife of Ben Shattuck; Michelle Rodriguez; Cara Delevingne; and John C. Reilly.
