{"id":668828,"date":"2025-05-13T07:15:18","date_gmt":"2025-05-13T04:15:18","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/david-rooneys-10-must-see-cannes-titles\/"},"modified":"2025-05-13T07:15:18","modified_gmt":"2025-05-13T04:15:18","slug":"david-rooneys-10-must-see-cannes-titles","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/david-rooneys-10-must-see-cannes-titles\/","title":{"rendered":"David Rooney\u2019s 10 Must-See Cannes Titles"},"content":{"rendered":"
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\n\tWith the 2025 Cannes Film Festival kicking off on Tuesday, one key question is what movies<\/a> not to miss on the Croisette.<\/p>\n

\n\tFrom competition veterans like the Dardenne brothers, Kelly Reichardt and Joachim Trier to newly promoted auteurs like Ari Aster, Oliver Hermanus, Carla Sim\u00f3n and Oliver Laxe, THR<\/em>\u2019s chief film critic rounds up 10 essential premieres<\/p>\n

\n\tDie, My Love<\/em><\/strong><\/p>\n

\n\tLynne Ramsey first turned heads in Cannes with her stunning 1999 feature debut\u00a0Ratcatcher<\/em>, about a 12-year-old boy growing up in poverty in the Glasgow housing projects. The Scottish director returned to the Croisette three years later with\u00a0Morvern Callar<\/em>, graduating to the official competition with\u00a0We Need to Talk About Kevin\u00a0<\/em>in 2011 and\u00a0You Were Never Really Here<\/em>\u00a0in 2017. Admirers have had a long wait for Ramsey\u2019s fifth feature, a thriller with a vein of comedy she describes as \u201cdark and fucked-up,\u201d starring Jennifer Lawrence as a new mother walloped by postpartum depression, deteriorating mental health and a crumbling marriage. Robert Pattinson co-stars, with LaKeith Stanfield, Sissy Spacek and Nick Nolte in supporting roles.<\/p>\n

\n\tEddington<\/em><\/strong><\/p>\n

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\t\t\t\t\tJoaquin Phoenix (left) and Pedro Pascal in \u2018Eddington.\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of A24<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tAfter forging a reputation as a maestro of insta-cult horror with\u00a0Hereditary<\/em>\u00a0and\u00a0Midsommar<\/em>, then taking a swerve into gonzo tragicomedy with\u00a0Beau is Afraid<\/em>, Ari Aster lands his first Cannes competition spot with this contemporary Western. Joaquin Phoenix stars as a small-town New Mexico sheriff opposite Pedro Pascal as the local mayor. Their standoff ignites a divisive uproar among the residents, with tensions heightened by social media<\/a>, if the film\u2019s trailer is anything to go by. The promising cast also includes Luke Grimes, Clifton Collins Jr., Emma Stone and Austin Butler.<\/p>\n

\n\tThe History of Sound<\/em><\/strong><\/p>\n

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\t\t\t\t\t\u2018The History of Sound\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Fair Winter<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tSouth African director Oliver Hermanus has been on a roll in recent years, with 2019\u2019s powerful drama of racism and homophobia,\u00a0Moffie<\/em>, about a young gay conscript<\/a> in the Apartheid-era military; and 2022\u2019s\u00a0Living<\/em>, a delicate Anglicized adaptation of the Akira Kurosawa classic,\u00a0Ikiru<\/em>, with Bill Nighy as a London bureaucrat navigating his remaining time after a terminal cancer diagnosis. His new film, adapted from Ben Shattuck\u2019s luminous short story, stars Josh O\u2019Connor and Paul Mescal as lovers who travel<\/a> together in the summer of 1919, walking hundreds of miles to record the ballads and folk songs of rural New Englanders.<\/p>\n

\n\tThe Mastermind<\/em><\/strong><\/p>\n

\n\tAfter premiering\u00a0Showing Up<\/em>\u00a0in the 2022 Cannes competition, Kelly Reichardt returns with a drama that takes her away from her frequent setting in the Pacific Northwest to Massachusetts circa 1970. Unfolding against the backdrop of the Vietnam War and the rise of the Women\u2019s Liberation movement, the film stars Josh O\u2019Connor, playing an unemployed carpenter who orchestrates a daring art heist in broad daylight, his life unraveling when things go haywire. The ensemble also includes Alana Haim, John Magaro, Gaby Hoffman and Hope Davis.<\/p>\n

\n\tRomer\u00eda<\/em><\/strong><\/p>\n

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\t\t\t\t\t\u2018Romeria\u2019 <\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Quim Vives\/Elastica Films<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tFollowing her lovely 2017 feature debut,\u00a0Summer 1993<\/em>, Carla Sim\u00f3n won the 2022 Berlin Golden Bear for\u00a0Alcarr\u00e0s<\/em>, a deeply personal portrait, cast with nonprofessional actors, of a family of peach farmers about to lose the orchard that has sustained them for generations. The Catalan director\u2019s family history is again at the heart of her latest work, about a young woman who travels to Galicia to meet her paternal grandparents, uncles and aunts for the first time. Both her parents died of AIDS when she was a child. The lingering shame around her father\u2019s drug addiction makes her relatives reluctant to revisit his loss, but she finds her own way of reckoning with the painful past.<\/p>\n

\n\tThe Secret Agent<\/em><\/strong><\/p>\n

\n\tReturning to Portuguese-language cinema for the first time in several years, Wagner Moura stars in this historical political thriller from Brazil\u2019s Kleber Mendon\u00e7a Filho, who won the 2019 Jury Prize in Cannes with the wildly imaginative anti-colonialist Western,\u00a0Bacurau<\/em>\u00a0(co-directed with Juliano Dornelles). Like 2023\u2019s haunting documentary memoir,\u00a0Pictures of Ghosts<\/em>, the new film is set in the director\u2019s hometown, Recife, this time during the final years of the country\u2019s military dictatorship. It centers on a schoolteacher with a mysterious past in search of a peaceful refuge.<\/p>\n

\n\tSentimental Value<\/em><\/strong><\/p>\n

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\t\t\t\t\t\u2018Sentimental Value\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Kasper Tuxen\/Mubi<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tThe concluding part of Joachim Trier\u2019s Oslo trilogy,\u00a0The Worst Person in the World<\/em>, was a highlight of the 2021 Cannes competition, landing Renate Reinsve the best actress prize and putting her on the international map. It also went on to score two Oscar nominations. Working with his longtime writing partner Eskil Vogt, the director again casts Reinsve, this time as an acclaimed stage actress in an intimate portrait of a Norwegian family and the house in which they have lived for generations, reflecting on memory and the reconciliatory power of art. Stellan Skarsgard and Elle Fanning also star.<\/p>\n

\n\tSirat<\/em><\/strong><\/p>\n

\n\tAll three of Oliver Laxe\u2019s previous features have premiered at Cannes and sent him home with a prize. Especially after his hypnotic slow-burn drama about rural life at risk of extinction in the Galician mountains,\u00a0Fire Will Come<\/em>, which won the 2019 Un Certain Regard Jury Prize, it was only a matter of time before the French-born Spanish director got an upgrade from the sidebars to the main competition. The always excellent Sergi L\u00f3pez plays a father in search of his lost daughter, who travels with his son to a rave in the mountains of southern Morocco where she vanished, and where they will be forced to confront their own limits.<\/p>\n

\n\tUrchin<\/em><\/strong><\/p>\n

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\t\t\t\t\tFrank Dillane in \u2018Urchin\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Charades<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tCannes this year is crawling with actors making feature directing debuts, including Kristen Stewart\u2019s\u00a0The Chronology of Water<\/em>, with Imogen Poots as a woman seeking to find her voice and channel her trauma into art; and Scarlett Johansson\u2019s\u00a0Eleanor the Great<\/em>, starring June Squibb as a nonagenarian who uproots from Florida to New York City and strikes up a friendship with a 19-year-old student. The one that most intrigues me \u2014 and has generated strong early word of mouth \u2014 is Harris Dickinson\u2019s raw portrait of an unhoused London man, played by Frank Dillane, attempting to break his relentless cycle of self-destruction and turn his life around.<\/p>\n

\n\tThe Young Mothers Home<\/em><\/strong><\/p>\n

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\t\t\t\t\t\u2018The Young Mothers Home\u2019<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tCourtesy of Christine Plenus<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tJean-Pierre and Luc Dardenne are Cannes royalty, having won the Palme d\u2019Or in 1999 for\u00a0Rosetta<\/em>, and again in 2005 for\u00a0L\u2019Enfant<\/em>. One could argue that, with their signature naturalism, leftist leanings and blue-collar milieux, you know what you\u2019re going to get from the Belgian brothers, like their British counterpart Ken Loach. But their unsentimental social realist dramas seldom fail to pierce the heart, which promises to be the case with this latest, about five women from troubled backgrounds, living in a shelter while struggling to build a better life for themselves and their children.<\/p>\n<\/div>\n

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Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

With the 2025 Cannes Film Festival kicking off on Tuesday, one key question is what movies not to miss on the Croisette. From competition veterans like the Dardenne brothers, Kelly Reichardt and Joachim Trier to newly promoted auteurs like Ari Aster, Oliver Hermanus, Carla Sim\u00f3n and Oliver Laxe, THR\u2019s chief film critic rounds up 10…<\/p>\n","protected":false},"author":1,"featured_media":668829,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2025\/05\/Die-My-Love-film-still.jpg?w=1440&h=810&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[28928,155500,124783,156337,29626],"class_list":["post-668828","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-cannes","tag-cannes-2025","tag-international","tag-jean-pierre-and-luc-dardenne","tag-kelly-reichardt"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/668828","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=668828"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/668828\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/668829"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=668828"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=668828"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=668828"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}