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Cannes 2025: The 25 Best Movies Of The Film Festival

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Entertainment - May 27th 2025, 17:08 GMT+2
Cropped It Was Just an Accident

It Was Just An Accident – Jafar Panahi

Jafar Panahi is back, blurring reality and fiction with razor precision in It Was Just an Accident, a film that turns a “wrong place, wrong time” scenario into a quiet act of rebellion. The story follows a group of Iranians who may or may not have kidnapped the wrong guy – or the right one, depending on your politics. With gripping performances from newcomers Vahid Mobasseri and Mariam Afshari, the film unfolds almost entirely inside a van, but feels as expansive as a revolution. It’s intense, claustrophobic, and unexpectedly funny in that “we’re all doomed, aren’t we?” kind of way. Panahi, still defiant after years of state censorship, delivers his most daring work yet – with a sly grin. | © Jafar Panahi Productions

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The Phoenician Scheme – Wes Anderson

Wes Anderson concocts an espionage caper as ornate and deadpan as one would expect from his whimsy factory. Set in a mid-century fantasy Europe, the film’s style is a pastel-colored dollhouse of intrigue, with every frame fussed over like a diorama. The plot’s father-daughter inheritance scheme spirals into absurd chaos, but heartfelt themes of family peek through the meticulous quirk. An ensemble of Anderson all-stars (Benicio del Toro, Mia Threapleton, Michael Cera – and yes, even Bill Murray as God himself) deliver dry humor with poker faces. It’s a self-aware riff on the auteur’s own formula, essentially Anderson out-Andersoning himself. | © American Empirical Pictures, Indian Paintbrush

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Honey Don’t! – Ethan Coen

Ethan Coen serves up a cheeky detective comedy that mixes small-town noir with the Coens’ offbeat charm. The film follows a sassy private eye (played with gum-chewing spunk by Margaret Qualley) untangling bizarre deaths tied to a mysterious church – think Fargo meets Scooby-Doo vibe. Coen’s playful tone winks at the audience with absurd situations, sharp one-liners, and a knowingly zany plot. The cast is a hoot: Aubrey Plaza’s deadpan antics, Charlie Day’s frantic energy, and Chris Evans gleefully against type as a goofy suspect. It’s a candy-colored B-movie romp that never forgets to have fun even as it satirizes genre tropes. | © Working Title Films

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Nouvelle Vague – Richard Linklater

Richard Linklater crafts a love-letter to cinema itself in this mischievous behind-the-scenes dramedy. Recreating the chaos of Jean-Luc Godard shooting Breathless in 1959, Linklater blends nostalgia with a modern meta kick, as if the French New Wave had a self-aware mirror. The film’s style playfully mimics Godard’s jump cuts and spontaneous energy, yet filtered through Linklater’s warm, conversational lens. Themes of youthful rebellion, artistic passion, and cinephile giddiness abound. Real-life film history buffs will swoon seeing Zoey Deutch channel Jean Seberg opposite newcomer Guillaume Marbeck as a neurotic young Godard. This movie knows it’s re-enacting legend, and it has a blast doing so while winking at the audience. | © Detour Filmproduction

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The Chronology Of Water – Kristen Stewart

Kristen Stewart’s directorial debut is a bold, poetic plunge into one woman’s turbulent coming-of-age. Adapted from Lidia Yuknavitch’s memoir, this biographical drama flows with lyrical dreaminess and raw honesty, exploring themes of trauma, sexuality, and self-discovery. Stewart’s style is experimental yet intimate – think nonlinear storytelling, visceral water imagery, and an edgy indie-rock vibe that screams Kristen Stewart was here. Imogen Poots delivers a fearless lead performance as Lidia, matched by Thora Birch’s poignant turn in a welcome comeback role. The film’s tone is both tender and punky, unafraid to get messy (emotionally and literally) as it finds beauty in a troubled life. | © Scott Free Productions

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Young Mothers – Luc & Jean-Pierre Dardenne

The Dardenne brothers stick to their vérité roots with an achingly human tale of struggling moms just trying to get by. Shot in their signature intimate style (all raw nerves and whispered prayers), this slice-of-life finds big drama in small moments without a whiff of sentimentality. No one stages everyday moral dilemmas like the Dardennes, and they prove it again here – yes, it’s another quietly devastating social realist gem, and yes, we’re still moved to tears. Star power takes a backseat to authenticity, as a cast of largely unknowns delivers gut-punch performances that feel lived-in and true. It’s unflashy, empathetic filmmaking that lingers long after the credits roll. | © Les Films du Fleuve Archipel 33>35 The Reunion

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Die, My Love – Lynne Ramsay

Lynne Ramsay’s fiery return to Cannes is as intense and uncompromising as we’d hoped – a surreal plunge into postpartum despair laced with pitch-black humor. Jennifer Lawrence gives a ferocious, vanity-free performance as a new mother spiraling into psychosis, matched by Robert Pattinson’s quietly haunting turn as her helpless husband. Ramsay conducts this psychological symphony with her trademark lyricism and gallows wit, at times as tender as it is terrifying. The film’s provocative mix of maternal angst and mordant comedy had festival-goers buzzing (a six-minute standing ovation says hello), firmly reestablishing Ramsay among cinema’s boldest voices. It doesn’t hurt that Martin Scorsese backed the project – talk about an endorsement for Ramsay’s dark vision. | © Sikelia Productions

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Alpha – Julia Ducournau

Julia Ducournau trades in the shock gore of Titane for something more delicate yet still delightfully deranged. Alpha is an eerie coming-of-age body horror set amid an AIDS-like epidemic, with the Palme-winning director channeling her obsessions into a surprisingly personal tale of adolescence and contagion. Newcomer Mélissa Boros impresses as the 13-year-old heroine, while Golshifteh Farahani and Tahar Rahim ground the madness as her panicked mother and eccentric uncle – both actors undergoing startling physical transformations that had Cannes chatter in overdrive. The film oscillates between tender family moments and skin-crawling imagery as marble-like disease spreads, showing Ducournau can unsettle you even when she’s in a reflective mood. Some viewers were left baffled (par for the course with her), but many hailed Alpha as a bold metaphorical fever-dream that only Ducournau could deliver. | © France 3 Cinéma

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The Mastermind – Kelly Reichardt

Who knew Kelly Reichardt had a heist caper in her? The Mastermind finds the slow-cinema auteur cutting loose with a 1970-set art theft romp that’s lighter on its feet than anything she’s done before. Josh O’Connor stars as a bumbling small-town thief whose “master plan” is more shaggy-dog comedy than Ocean’s Eleven, and he’s flanked by an eclectic crew including Alana Haim (hilariously deadpan as his fed-up wife) and veteran scene-stealers like Hope Davis and Bill Camp. Reichardt approaches the genre with a wry, minimalistic touch – expect more quirky character beats and ironic twists than high-octane chases – and in doing so, she slyly satirizes American ambition and greed. The result is a quietly jaunty film that had arthouse crowds grinning, proving Reichardt can poke fun at genre conventions while still sneaking in the emotional truth under it all. | © Mubi

Cropped Yes

Yes! – Nadav Lapid

Brash, confrontational and utterly unafraid of ruffling feathers, Nadav Lapid’s YES comes out swinging at society and doesn’t stop until every sacred cow is scorched. This incendiary drama – set in Israel’s turmoil after October 7, 2023 – follows a jazz musician and his dancer wife through a surreal odyssey of selling art, souls, and maybe a bit of sanity. Lapid, known for his fearless critiques (Synonyms, Ahed’s Knee), doubles down here with absurdist satire and raw polemic, blurring reality in a way that’s both exasperating and riveting. The ensemble (led by Israeli actor Ariel Bronz and Leviathan’s Aleksei Serebryakov) throws themselves into the chaos with manic energy, embodying a society on the brink. Some call it self-indulgent; others hail it as a necessary howl – either way, YES had everyone at Directors’ Fortnight talking. Love it or hate it, Lapid’s angry genius shines through every unflinching frame. | © Chi-Fou-Mi Productions

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Eddington – Ari Aster

Ari Aster trades existential horror for a cracked-mirror Western, and the result is as wild and ambitious as you’d expect from the mad mind behind Midsommar. Eddington is a genre-bending “COVID Western” satire set in 2020 New Mexico, where a small-town sheriff’s feud with the mayor spirals into a community-on-the-edge showdown. It’s a stacked affair: Joaquin Phoenix brings brooding gravity as the beleaguered sheriff, Pedro Pascal gleefully chews scenery as his rival, and Elle Fanning and Austin Butler pop up to add star wattage (and some absurd humor) to the mix. Aster uses the Western framework to dissect America’s recent culture wars – think face masks at high noon – blending deadpan comedy with sudden bursts of violence and paranoia. Not every idea lands smoothly (this film bites off more than even Aster can chew at times), but its galaxy-brained audacity had Cannes crowds applauding its nerve. Love him or not, Aster has delivered a sprawling, go-for-broke satire that shoots for the stars – and occasionally hits a bullseye. | © A24

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Orwell: 2+2=5 – Raoul Peck

Raoul Peck returns with a dynamic documentary that resurrects George Orwell to diagnose our present-day ills, and it’s as eye-opening as its title implies. Blending archival footage, insightful talking heads, and imaginative dramatizations, Peck’s film draws unsettling parallels between 1984’s dystopia and the surveillance-soaked, fact-twisting reality we live in now – a case of “Big Brother is watching” that feels all too real. The director of I Am Not Your Negro once again proves he can turn a history lesson into riveting cinema; the pacing is propulsive and the imagery often chillingly poetic. There’s no traditional star cast here – instead, Orwell’s own words (voiced in part by actors and woven through the narrative) become the protagonist, guiding us through totalitarian nightmares then and now. It’s a cerebral ride, but Peck knows how to keep an audience hooked while delivering a potent warning about truth and power. In a festival full of fiction, this documentary made a loud, vital statement – homework never felt so engaging. | © Velvet Film

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Amrum – Fatih Akin

Fatih Akin’s latest takes us to the windswept North Sea island of Amrum, but don’t let the tranquil setting fool you – there’s plenty of tension brewing under those grey skies. In a shift from his recent urban thrillers, Akin crafts a moody slow-burn mystery on this remote German isle, complete with buried secrets, simmering family conflicts and a touch of the supernatural (or is that just folklore talking?). The film is visually stunning, making atmospheric use of Amrum’s lonely beaches and foggy moors, as Akin’s camera prowls around like it’s searching for ghosts. A strong German ensemble (no Hollywood cameos here) brings life to the island’s tight-knit, suspicious community, pulling us into their feuds and fears. Amrum feels like a throwback to old-school European suspense dramas – unhurried, character-driven, and deeply rooted in a specific place. By the time the storm hits (literally and figuratively), this deceptively quiet film has you fully in its grip. | © Bombero International

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Sirat – Oliver Laxe

In Sirat, Oliver Laxe doubles down on the transcendental style that made him an arthouse darling, delivering a spiritual journey that is equal parts mystifying and mesmerizing. The title means “path,” and indeed we follow a humble traveler across Moroccan landscapes in a quasi-mystical quest that often feels like a waking dream. Laxe’s patient, meditative approach isn’t for everyone – long silences, gorgeous 16mm shots of desert and sky, layers of Sufi symbolism – but for those attuned to his wavelength, it’s pure cinematic poetry. The non-professional cast dissolves into the scenery, blurring the line between documentary and fiction as if the film itself is contemplating the nature of reality. Self-aware and even gently humorous at times (yes, Laxe finds room for a sly joke or two amid the soul-searching), Sirat left the Cannes crowd in a contemplative hush. It’s a film that invites you to slow down and listen to the silence – a bold gambit that paid off for Laxe’s devoted fans. | © 4A4 Productions

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Sentimental Value – Joachim Trier

Joachim Trier’s follow-up to The Worst Person in the World is a warm hug of a movie that still manages to cut right to the bone. Sentimental Value is a tender, witty exploration of family ties and filmmaking, centered on two estranged sisters and their eccentric filmmaker father who reconnect (and clash) while deciding the fate of their old family home. Renate Reinsve, Trier’s muse, gives a beautifully nuanced performance as a struggling actress daughter, and she’s matched note for note by Stellan Skarsgård as her wayward, larger-than-life dad – their prickly chemistry is both hilarious and heartbreaking. Adding some meta-Hollywood sparkle is Elle Fanning as a movie star drawn into the family’s orbit, a plot twist that Trier handles with playful self-awareness. The Cannes audience laughed, cried, and reportedly broke into a 15-minute ovation; it’s no surprise this poignant crowd-pleaser walked away with the Grand Prix. Balancing gentle humor with raw emotion, Sentimental Value became one of the festival’s darlings, reaffirming Trier’s knack for making the intimately personal feel universal. | © Oslo Pictures

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Two Prosecutors – Sergei Loznitsa

Leave it to Sergei Loznitsa to turn a 1930s Soviet courtroom into one of the tensest viewing experiences of the year. Two Prosecutors is a stark, haunting drama set during Stalin’s Great Purge, following a principled young prosecutor digging into a gulag case that no one wants reopened. Loznitsa’s austere direction and immersive period detail make every scene feel claustrophobic – you can practically smell the fear and tobacco in those interrogation rooms. The film unfolds through long, riveting interrogations and moral dilemmas rather than action, but thanks to a committed cast (led by rising actor Aleksandr Kuznetsov and veteran Aleksandr Filippenko locking horns as idealist vs. apparatchik), it never loosens its grip. Critics were nearly unanimous in praise – it famously tied Panahi’s film atop Screen’s Cannes jury grid – and for good reason. By shining a light on historical injustice, Two Prosecutors speaks quietly, but carries a big stick of contemporary resonance. The result is chilling, cerebral, and deeply human all at once, culminating in a final act of courage that earned spontaneous applause. (There’s even a dark little joke in there, proving Loznitsa hasn’t lost his sly sense of humor amid the terror.) | © Atoms & Void

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The Secret Agent – Kleber Mendonça Filho

Kleber Mendonça Filho trades the sun-baked streets of Recife for the shadowy alleyways of espionage in The Secret Agent, a genre departure that still crackles with the director’s political bite. Inspired loosely by the classic Conrad novel, the film transposes intrigue and paranoia into Kleber’s own key: measured suspense, simmering social commentary, and the occasional surreal flourish. The story tracks a mole operation gone awry – think double agents and hidden agendas – but don’t expect a glossy Bond-style affair. This is a slow-burn, character-driven thriller that builds tension through lingering glances and portentous sound design (Kleber’s longtime sound team works magic ratcheting up the dread from a ticking clock or a distant radio). An international ensemble cast brings heft to the intrigue, with seasoned Brazilian and European actors elevating every furtive meeting and betrayal. Despite the cloak-and-dagger plot, the film has a playful self-awareness too, winking at the spy genre’s tropes even as it delivers genuine nail-biting moments. By the climax, The Secret Agent reveals itself as both a gripping thriller and a sly critique of surveillance-era anxieties – a combination only Mendonça Filho could pull off so elegantly. | © MK2 Productions

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The History Of Sound – Oliver Hermanus

A lush gay romance set against the backdrop of World War I, The History of Sound brought a swell of emotion to Cannes that left hardly a dry eye in the house. Director Oliver Hermanus (fresh off Living) infuses this adaptation of Ben Shattuck’s short story with exquisite period detail and a deeply felt tenderness, following two young men who traverse the American countryside to record the voices of ordinary people – and in the process, fall profoundly in love. The film’s ace in the hole is its leads: Paul Mescal and Josh O’Connor have crackling chemistry, delivering performances so sincere and aching that you forget these two aren’t really wartime lovers destined for tragedy. Hermanus balances their intimate journey with sweeping landscapes and the soft crackle of old audio recordings, creating a nostalgic atmosphere that feels like stepping into a sepia-toned memory. It’s a quieter entry among flashier festival fare, but many found its gentle power undeniable. By the final reel, The History of Sound crescendos into an emotional climax that had audiences reaching for handkerchiefs – proof that in a Cannes lineup full of audacity, a well-crafted heartfelt drama can still steal the show. | © Film4

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Romería – Carla Simón

Spanish director Carla Simón follows up her Berlinale win with Romería, a sun-dappled ensemble piece that overflows with authenticity and understated charm. Set during a lively village pilgrimage festival (the “romería” of the title), the film immerses us in a Catalan community’s joys and struggles across one bustling weekend. In classic Simón fashion, the line between actor and real villager practically vanishes – the cast, largely local non-professionals, inhabit their roles so naturally that it feels like we’re eavesdropping on real life. There are no melodramatic fireworks here, just gentle humor, generation-spanning conversations under the oak trees, and an accumulating sense of life’s bittersweet cycle (expect a lump in your throat by the closing scene). Simón’s observational, documentary-like style finds beauty in the mundane: children chasing chickens, old friends arguing over wine, a grandmother quietly passing on a family recipe. Yet amid the slice-of-life vignettes, themes of tradition versus change emerge gracefully. Romería might be one of the subtler entries on this list, but its warm humanity left a distinct imprint on festival-goers – a reminder that sometimes the softest films resonate the loudest. | © Elastica Films

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Case 137 – Dominik Moll

Building on the noirish thrills of his acclaimed The Night of the 12th, Dominik Moll’s Case 137 is another taut crime puzzle that burrows under your skin. The film plunges us into a cold case reopening in a provincial French town – a decades-old mystery involving murder, cover-ups, and the kind of secrets that fester in the dark. Moll isn’t interested in a flashy whodunit reveal; instead, he crafts a brooding, methodical investigation that becomes as much about the investigators’ own demons as the crime itself. The atmosphere is thick with dread and rainy-night melancholy, punctuated by sharp social observations (Moll has a knack for showing the rot beneath polite society’s surface). A cadre of France’s finest character actors populate the suspect list, each bringing subtle menace or pathos, keeping us guessing who, if anyone, still has a conscience. As clues slowly click into place, the film tightens its grip – by the finale, viewers found themselves holding their breath without realizing it. Case 137 might not reinvent the detective thriller, but it executes its dark craft so expertly that festival audiences were left duly chilled and impressed. | © Haut et Court

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Eagles Of The Republic – Tarik Saleh

Tarik Saleh delivers a slick, politically charged thriller with Eagles of the Republic, confirming his status as a modern master of the conspiratorial potboiler. After Cairo Conspiracy, Saleh ups the ante with this globe-trotting tale of espionage and revolution that kicks off with a bang – literally – and rarely lets up. The story threads through Cairo, Washington, and beyond, as an idealistic young agent uncovers an assassination plot entwined with his country’s power struggles (expect double-crosses and shadowy puppet-masters aplenty). Saleh directs with muscular confidence: tense stakeouts in smoky back rooms explode into kinetic chase sequences, and even the quieter scenes bristle with paranoia. The cast is truly international, featuring actors from the Middle East, Europe, and Hollywood to underscore the film’s East-meets-West intrigue; everyone brings their A-game, from a charismatic Arab lead who anchors the drama to an American veteran chewing the scenery as a CIA wildcard. What sets Eagles of the Republic apart is its undertow of real-world resonance – Saleh slyly weaves in commentary on state corruption and foreign meddling, giving the popcorn thrills a brainy edge. By the time the credits rolled, Cannes audiences were both energised and a little unnerved, which is exactly how Saleh likes it. | © Memento Production

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Adam’s Sake – Laura Wandel

Laura Wandel proves Playground was no fluke with Adam’s Sake, another child’s-eye drama that transforms a schoolyard scuffle into high-stakes cinema. This time, Wandel widens her scope beyond the playground to explore the fraught dynamics of a working-class Belgian family, all seen through the perspective of little Adam – a quiet boy caught in the crossfire of his parents’ separation and a community crisis. Filmed at kid-height and with vérité intensity, the film drops us into Adam’s world of half-understood adult conversations, whispered school rumors, and small acts of kindness that mean everything. It’s a keenly observant piece, often as suspenseful as a thriller even though the “action” might be a PTA meeting or a tense dinner table. The cast mixes seasoned actors with incredibly natural child performances, creating scenes so real you feel like a fly on the wall. True to form, Wandel isn’t afraid to tackle heavy themes (poverty, prejudice, the loss of innocence) head-on, but she does so with empathy and nuance, never losing sight of hope. By the end, Adam’s Sake had Cannes viewers visibly moved – and keeping an eye out for the young actor playing Adam, who might just be the festival’s breakout discovery. | © Dragons Films

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Urchin – Harris Dickinson

Actor Harris Dickinson makes a striking directorial debut with Urchin, a gritty yet oddly whimsical drama about homelessness on the streets of London. Starring the magnetic Frank Dillane as a long-time rough sleeper spiraling through cycles of self-destruction and resilience, the film marries kitchen-sink realism with flashes of surreal humor – a combination that shouldn’t work but absolutely does. Dickinson, not even 30, directs with the confidence of a veteran, painting a compassionate portrait of life on the margins without turning preachy or mawkish. The film’s secret weapon is Dillane’s tour-de-force performance (he nabbed Un Certain Regard’s Best Actor prize for good reason): by turns jittery, charming, infuriating and heartbreaking, he personifies the story’s thorny mix of hope and hopelessness. Dickinson even cheekily gives himself a cameo as a fellow vagrant who crosses Mike’s path, a nod to his own star persona that comes off as wry and self-aware. Urchin had critics lauding its unflinching honesty and unexpected flights of imagination – think Trainspotting-meets-Nomadland, yet distinctly its own thing. All in all, a terrific first film that marks Harris Dickinson as a filmmaker to watch, on top of being a fine actor. | © BBC Film

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My Father’s Shadow – Akinola Davies Jr.

Making history as the first Nigerian film in Cannes’ Official Selection, My Father’s Shadow is a soulful family saga that announces Akinola Davies Jr. as a major new talent. Set over the course of a single sweltering day in 1993 Lagos, the film follows two young brothers reuniting with their long-absent father amidst the chaotic backdrop of a pivotal national election. Drawing from his own family history, Davies Jr. imbues each scene with intimate detail and palpable emotion – you can sense the lived-in truth behind the fiction. The cinematography pops with color and energy, yet it’s the performances that truly anchor the film: Sope Dirisu brings movie-star gravitas and vulnerability as the troubled father trying to make amends, while the child actors (newcomers with astounding natural talent) capture all the confusion, resentment and love of kids grappling with a parent’s return. My Father’s Shadow is warmly observational and quietly political, exploring generational trauma and hope without ever losing its light touch. By the heartfelt conclusion, Cannes audiences were won over – the film earned a Caméra d’Or special mention, and more importantly, signaled a bright future for Nigerian stories on the world stage. | © Element Pictures

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A Useful Ghost – Ratchapoom Boonbunchachoke

A Useful Ghost – Ratchapoom Boonbunchachoke’s debut feature is a wonderfully bonkers Thai fantasy-comedy that had Critics’ Week audiences cackling and clutching their hearts in equal measure. The premise itself is delightfully absurd: a devoted mom dies of a respiratory illness and comes back as a ghost to possess… wait for it… her family’s vacuum cleaner, all to protect her beloved husband from the same fate. Cue the hijinks of a haunted appliance! But beneath the quirky surface, A Useful Ghost is a heartfelt exploration of love, grief, and letting go. The film’s tone zips from slapstick (think ghostly vacuum antics that knowingly spoof horror tropes) to tender domestic drama without missing a beat. Davika Hoorne, one of Thailand’s biggest stars, is radiant as the spirited mom-turned-vacuum (she somehow conveys emotion through voiceover and, uh, the vacuum’s “body language”). With vibrant candy-colored visuals and a script that gleefully subverts the usual ghost story rules, this film feels like a fresh breeze. It’s self-aware and campy when it wants to be, yet will unexpectedly hit you with an emotional sucker punch about family bonds. No wonder it waltzed away with the Grand Prize at Critics’ Week – this useful ghost is here to charm the world. | © 185 Films, Momo Film Co.

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The Cannes Film Festival 2025 has once again brought the global film industry to the French Riviera, showcasing a dazzling lineup of cinematic brilliance from around the world. From boundary-pushing indie gems to powerful auteur-driven dramas, this year’s selection is nothing short of spectacular. Whether you're a film buff, an industry insider, or just looking for your next great watch, we’ve curated the 25 must-see movies that are generating the most buzz at Cannes 2025. Stay ahead of the curve and discover the titles destined to shape the global film conversation in the months to come.

The Cannes Film Festival 2025 has once again brought the global film industry to the French Riviera, showcasing a dazzling lineup of cinematic brilliance from around the world. From boundary-pushing indie gems to powerful auteur-driven dramas, this year’s selection is nothing short of spectacular. Whether you're a film buff, an industry insider, or just looking for your next great watch, we’ve curated the 25 must-see movies that are generating the most buzz at Cannes 2025. Stay ahead of the curve and discover the titles destined to shape the global film conversation in the months to come.

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