Disappointing? Cannes Film Festival 2026 line-up analysis
Breakdown of all 21 In Competition titles announced so far...
Watch full video analysis above
It’s one of the most exciting times of the year for cinephiles - that’s right - the Cannes Film Festival line-up announcement. Don’t underestimate the importance of the films that premiere at this festival. This is where the serious players of the year first present themselves. If there is a geographical location that could be considered the home of cinema, it would be Cannes - you feel it in the air, trust me.
The announcement is the moment of ultimate anticipation. You’re presented with little information - a synopsis, usually a single image, cast, but most importantly which auteur’s we’re getting new films from. There is a lot of auteur’s the year, mainly from East Asia and Europe. However, apart from discovering we’re getting a new Asghar Farhadi film, none of these other titles make me want to book a plane ticket and accomodation to immerse myself in the French Riviera. I don’t feel that rush of excitement in me like I do with the last few years’ In Competition strand. However, that’s not to say it’s going to be a bad year. Last year’s edition seemed to offer a lot of promise on paper but the quality of the films didn’t quite live up to the high expectations I developed. Perhaps this year may offer the reverse outcome.
I did a 45 minute video anyalsis of this year’s In Competition line-up, however, if you’re looking to digest this information quicker, I’ve done a written version below….
COMPETITION
“Minotaur,” Andrey Zvyagintsev
Zvyagintsev hasn’t released a film since 2017 with “Loveless”. His 2014 film “Leviathan” was apparently very good. I’m sure many will be welcoming the return of this director. Personally, I’m not too fussed, considering I haven’t seen any of his works.
“El Ser Querido” (“The Beloved”), Rodrigo Sorogoyen
Synopsis: Acclaimed director reunites with estranged daughter, an unsuccessful actress, to shoot a film together, confronting their strained relationship and unresolved past issues that neither wants to address directly.
Sounds a bit like Sentimental Value, which was released last year and won the Grand Prix at Cannes. But that doesn’t mean we can expect the same film. I haven’t seen Sorogoyen’s previous works, but his 2022 film “The Beasts” is meant to be very good. Based on the high praise, I’d probably be checking this one out.
“The Man I Love,” Ira Sachs
The only American film on the line-up stars Rami Malek in Ira Sachs new film set in 1980s NYC amid the AIDS crisis. Sachs brought us “Passages” in 2023, a very explicit gay romance starring Ben Winshaw & Franz Rogowski, perhaps his new entry won’t shy away from going down the same path. I’d welcome it if so, but hopefully it’s a bit more intriguing & engaging than Passages. I found myself turning it off after an hour. I’d give this one a shot.
“Fatherland,” Paweł Pawlikowski
Pawlikowski returns after nearly a decade's absence with his new film “Fatherland” starring Sandra Huller. This is the guy who brought us Cold War (2018) & Ida (2013), both of which are meant to be extremely good. Shamefully, I haven’t seen either of them in full. I recall watching no more than half an hour of both films before turning them off, but this was more down to mood than repulsion at watching bad art. Fatherland will no doubt be one of the most anticipated films in the line-up among cinephiles.
“Moulin,” László Nemes
This was a surprise. It was just last year that Nemes premiered a new film called “Orphan” at Venice Film Festival after nearly a decade-long break. Now it seems we’re getting another one very soon. Apparently, Orphan wasn’t very good. Nor did I think Sunset (2018) was. It seems to be a common consensus that Nemes has not been able to deliver the same standard or higher than his holocaust triumpth, Son of Saul (2015).
“Histoire de la nuit” (“The Birthday Party”), Léa Mysius
Synopsis: In a quiet rural area, Bergogne, his wife Nora, and daughter Ida live near artist Cristina. As they plan Nora's 40th birthday party, mysterious strangers begin appearing in the village.
Sounds interesting. Monica Bellucci is reported to be in it. Léa Mysius directed a film called The Five Devils (2022), which was meant to be okay. Her writing credits are impressive: Emilia Perez (2024), Paris 13th District (2021) & Oh Mercy! (2019). I’d be open to giving this one a go.
“Fjord,” Cristian Mungiu
This one is probably worth getting excited about. Mungiu has already won the Palme d’Or in 2007 with the superb illegal abortion drama 4 Months, 3 Weeks and 2 Days. Although I highly admire that film, I haven’t given any of his other films a chance. This isn’t due to avoidance - I’m very keen to discover what treasure lies in his other works. “Fjord” will be Mungiu’s first English-language film - could this be another attempt by a European arthouse director to break into Hollywood, similar to the journey of Yorgos Lanthimos? The two filmmakers aren’t comparable in style, but I wouldn’t be surprised if Mungiu was attempting to break out at this point. He’s been making films for years, has won a Palme d’Or, yet I doubt those who aren’t cinephiles would have even heard of him. Looks like this new film has already been picked up by Neon - a good indicator that it will be a strong contender for the Palme d’Or.
“Notre salut,” Emmanuel Marre
Synopsis: Swann Arlaud plays Henri Marre, inspired by the filmmaker’s own real-life great-grandfather, who arrives in Vichy with his political manuscript, which he intends to publish to make a name for himself in the new regime and help save France – and himself – from collapse. Belgian actress Sandrine Blancke also stars.
This is the new film by the guy who gave us “Zero fucks given” in 2021. I couldn’t give a fuck about this new entry.
“Gentle Monster,” Marie Kreutzer
Synopsis: Renowned pianist relocates with her family to the countryside, where she uncovers a life-shattering truth that forces her to confront the complexities of love, trust, and deception.
Could be interesting, although this director’s last film, Corsage (2022), was terrible. Because of that, I don’t think I’d be open to giving this a chance, even though it stars Léa Seydoux & Catherine Deneuve. Might need a bit more information about this one to win me round.
“Nagi Notes,” Koji Fukada
Synopsis: Set in rural Nagi, Okayama Prefecture, it follows sculptor Yoriko, carrying unhealed loss, whose quiet life is disrupted when friend Yuri, a Tokyo/Taiwan-based architect, arrives to model for her work.
Fukada’s Harmonium (2016) is meant to be good, but this new film immediately gives off tedious East Asian drama vibes just by its plot. I don’t have the patience to engage.
“Hope,” Na Hong-Jin
Synopsis: A mysterious discovery is made on the outskirts of the remote harbor town. The residents find themselves in a desperate fight for survival against something they have never encountered before.
This sounds very interesting. It’s the new film from the guy who brought us the 2016 horror film “The Wailing”. Perhaps more intriguing is that it stars Michael Fassbender & Alicia Vikander - the first film the married couple have starred in together. This will probably be one of the must-sees at the festival this year.
“Sheep in the Box,” Hirokazu Kore-eda
Synopsis: Set in the near future, Otone Komoto works as an architect. She is married to Kensuke Komoto, who runs a construction company. The married couple decide to welcome a humanoid robot into their home as their son.
Probably the most intriguing plot out of all the films in competition. I’ve never considered myself a fan of Kore-eda’s work. He’s somewhat of a cinematic giant at Cannes and among cinephiles - “Shoplifters” won the Palme d’Or back in 2018, his last feature Monster (2023) was extremely well received. There’s no doubt that this will be be one that festival attendee’s will be fighting to see. This would probably be on my priority list too. AI has become an important feature in my life as I find myself relying on Gemini more than I do friends & family. Why pay hundreds or thousands of pounds for a therapist when you can instruct AI to provide exactly what you need without time limits and breaking the bank? I doubt I’m the only one who has this relationship with AI. I’d happily give Kore-eda another change to see how this story explores the bond between an artifical son and its human parents.
“Garance” (“Another Day”), Jeanne Herry
Synopsis: Garance is a young actress but not a star. She manages things as best she can, finding fuel and comfort in alcohol. As she embarks for an eight-year journey of life changes, she drinks more and more. Until death seems to loom.
This one stars Adèle Exarchopoulos - great actress, but my guess is this will be your mediocre typical French festival film that offers very little.
“The Unknown,” Arthur Harari
Synopsis: Photographer David Zimmerman rarely leaves home until friends bring him to a wild party. He becomes fixated on a mysterious woman and follows her. By dawn, his life transforms-he awakens in her body.
This would be on my priority list. Mainly because one of my own screenplays is based on this exact concept, an arthouse Freaky Friday. But its unclear as to whether the woman wakes up in his body. Nevertheless, the plot is intriguing, it stars Léa Seydoux, and better yet, the guy behind the camera is the co-writer of “Anatomy of a Fall” that won the Palme d’Or in 2023. He also directed a pretty good film called “Onoda: 10,000 Nights in the Jungle” that premiered at Cannes in 2021. He’s demonstrated high competence with these existing works, leaving me intrigued to see how he handles such an interesting concept in this new work.
“All of a Sudden,” Ryusuke Hamaguchi
Synopsis: Two scholars exchange letters about chance and risk. As the philosopher falls ill, their academic correspondence evolves into intimate discussions about mortality and a deeper connection forms between them.
I wasn’t particularly fond of Drive My Car (2021) despite it’s popularity. However, when philosophy is the main centre of a film it doesn’t take much to seduce me to give Hamaguchi another go. It stars Virginie Efira - a pleasure on the eyes.
“Das Geträumte Abenteuer” (“The Dreamed Adventure”), Valeska Grisebach
Synopsis: In a border town in southeastern Bulgaria, a woman becomes involved in an illegal trade to help out a man with whom she shares a special bond. Embarking on a perilous adventure in his stead, she ends up confronting both her own desires and her past.
Quite vague. Not aware of this filmmaker’s previous works. This would probably have empty seats in the auditorium.
“Coward,” Lukas Dhont
Synopsis: Pierre, a young Belgian soldier wants to prove himself on the battlefield during the First World War. Behind the frontlines, he meets Francis, who is asked to find a way to boost morale.
This will probably be one that attendees are eager to see. Possibly a Grand Prix contender. Dhont gave us the adolescent film “Close” in 2022. Didn’t catch it myself but I heard it was heartbreaking. The cinematography looked gorgeous - and this striking image attached to his new work leaves no doubt that we’re going to get another visually stunning work.
“La Bola Negra” (“The Black Ball”), Javier Ambrossi and Javier Calvo
Synopsis: The Black Ball, inspired by an unfinished play by Federico García Lorca, will be a queer vindication about three men in three different moments of Spanish history: 1932, 1937, and 2017.
Apparently this will be Glenn Close’s Spanish debut. Can’t say I’m familiar with the filmmakers, nor am I particularly pulled in by the plot.
“A Woman’s Life,” Charline Bourgeois-Tacquet
Synopsis: Gabrielle, a fifty-year-old surgeon, is questioning herself about love, desire, aging, all against the backdrop of a hospital crisis, when a novelist arrives to watch her work for a book she’s writing.
Can’t say I’m the least bit interested in this. Pass.
“Parallel Tales,” Asghar Farhadi
This one I am very excited for. This would be number one of the priority list for me. Asghar Farhadi is one of the best directors working today and this will be his second feature length French language film, the first was The Past (2013). His works are largely Iranian, it would be fair to sayA Seperation (2011) is his masterpiece. I read somewhere that he has abandoned making films in Iran going forward.
The fact we’re getting a new Farhadi film alone is exciting enough but what makes this more intriguing is that it’s inspired by Krystof Kieślowski’s ‘Dekalog VI’. This was centered on a young man who becomes infatuated with an older woman, leading him into a dangerous obsession. An extended 86-minute feature version of this film was later released, titled “A Short Film About Love”. It was originally rumoured that this new film by Farhadi was meant to focus on the November 2015 Paris terror attacks, however, clearly that is not the case. I’m a bit disappointed as this could have been a very interesting film, but with a cast lined up including Isabelle Huppert, Virginie Efira, Vincent Cassel, and Catherine Deneuve, I have confidence that this will be another stellar work from this master of cinema, most likely a major Palme d’Or contender.
“Amarga Navidad” (“Bitter Christmas”), Pedro Almodóvar
Synopsis: A woman being abandoned by her partner during Christmas time.
I’ll admit - I’m sick of hearing that Almodovar is still churning out films. I thought Pain & Glory (2019) would have been his sign off, but he just won’t stop. That said, I did enjoy The Room Next Door (2024), a surprsingly charming film on assisted dying, however, not sure it was worthy of winning the Golden Lion at Venice, yet if Jim Jarmusch’s Father Mother Sister Brother (2025) can win the top prize too then anything goes really. I imagine this will be on many attendees priority list. I’ve seen enough Almodóvar films in my lifetime, but I have a feeling there are many more to come…