Cannes 2026 - The Meltdown by Manuela Martelli

Set in the early '90s, The Meltdown follows a young girl, Inès (Maya O'Rourke), who is under the care of her grandparents, the owners of a ski resort in Chile, and largely left to her own devices. She strikes up a friendship with Hanna (Maia Rae Domagala), a visiting German teenager  only for the latter to mysteriously vanish. 

Cannes 2026 - Teenage Sex and Death at Camp Miasma by Jane Schoenbrun

In Teenage Sex and Death at Camp Miasma, an infamous horror franchise, Camp Miasma, is being revived and Kris (Hannah Einbinder) is the queer filmmaker tasked with bringing it back to life. Her journey leads her to seek out Billy Presley (Gillian Anderson), the mysterious, reclusive actress who played the original final girl.

Cannes 2026 - The Electric Kiss by Pierre Salvadori

The Cannes Film Festival seems to have struggled to find a good opening film after the highlight of Annette in 2021, with some decent but forgettable comedies, including Leave One Day last year whose presence felt incongruous. This year's opening film, The Electric Kiss seemed to be of the same variety yet thankfully it turned out to be a pleasant surprise.

In The Electric Kiss, famous painter Antoine (Pio Marmaï) has been left inconsolable and unable to paint since the death of his wife Irène (Vimala Pons). He encounters Suzanne (Anaïs Demoustier), known as the “Electric Venus,” a fairground attraction whose performance relies on giving audiences the brief illusion of love and through a misunderstanding he mistakes her for the fair's medium. Believing her to possess genuine spiritual gifts, he persuades her to help him communicate with his lost love. Suzanne, trapped in a life of poverty and exploitation, initially sees the arrangement as her opportunity to escape, an arrangement that Antoine's art dealer, Armand (Gilles Lellouche), is all too happy to facilitate. 

Cannes 2025 - Awards and comments

Last year's awards was always going to be a tough act to follow, in which all the right films were rewarded (in my humble opinion!) and with a Palme d'or that went on to win the Oscar for best film, repeating Parasite's feat a mere few years later (although Sean Baker seemed more excited about winning the former than the latter). It seems like the bad memory of the last truly disastrous awards (2016, a year seared in the memories of Cannes attendees) is far behind us and this year, Juliette Binoche and her jury gave us a honourable list of awards.

Cannes 2025 - The Mastermind by Kelly Reichardt

The Mastermind is set in the 1970s and feels, in many respects, as though it could have been made then. Not as an exercise in nostalgia or hollow imitation, but in its mood: a gradually darkening tone, a background of social unease, and a moral landscape that remains ambiguous throughout. It is a film that resists easy characterisation, content to let its characters drift through uncertainty rather than obvious narrative arcs.

The premise is simple: JB Mooney (Josh O'Connor), a carpenter and amateur art thief, goes along with a bigger heist that, needless to say, does not go as planned. Kelly Reichardt is less interested in the mechanics of crime than the people behind it and the motives that put it into motion. The 1970s setting is crucial, but it is handled with restraint. There is no fetishisation of period detail, no series of signifiers. Instead, the era is evoked through atmosphere: tired interiors, muted colours, the sense of a society no longer convinced of its own coherence. Political and economic tensions are present, but mostly as background noise, shaping behaviour rather than driving plot. 

Cannes 2025 - The Last One for the Road by Francesco Sossai

The Last One for the Road starts with a seemingly simple premise: two broke fifty something friends with a "one last drink” philosophy meet a shy architecture student by chance and embark on an unexpected road trip with him. What unfolds is a film that initially feels modest but grows into something resonant: a reflection on youth, ageing and intergenerational curiosity that stays with you long after the end credits have rolled

Cannes 2025 - Vie Privée by Rebecca Zlotowski

When renowned psychiatrist Lilian Steiner (Jodie Foster) learns of the death of one of her patients, doubting the official version of events, she becomes convinced that something is amiss and decides to look into the circumstances herself. 

Vie privée is a psychological thriller but its genre category only tells part of the story. What makes the film  enjoyable and entertaining even if fairly slight is not the quickly forgotten resolution of its mystery  but Jodie Foster, delivering one of those performances that makes you remember, if it was ever needed, what a great, versatile actress she is, helped by a nicely written and compelling character, the most interesting part she has played in years.