'The Screen Podcast': Praising Cannes' Hidden Gems

I was back on Screen International's podcast, hosted by the delightful Wendy Mitchell, to discuss three movies that I feel were overlooked at Cannes. (In a separate segment, my colleague Wendy Ide offers three different picks from the festival.) You can check out our recommendations below.

Cannes 2026: The Wrap-Up and the Rankings

Every year, I come home from Cannes with a song. One of the pleasures of this festival, beyond seeing so many invigorating films, is to be introduced (or reintroduced) to a tune that works astonishingly well within the context of a movie. In past years, tracks like Bacao Rhythm & Steel Band's cover of 50 Cent's "PIMP" (from Anatomy of a Fall) or Anna Von Hausswolff's "Stranger" (from Sound of Falling) became the unofficial theme of those editions of Cannes, providing pleasure not just inside the accompanying film but during the months after the festival when I'm still playing the track on repeat. Those songs become my memory of those two weeks on the Croisette.

Many have written about this year's Cannes being underwhelming, which I generally agree with. But the way in which I feel that most acutely is the fact that I'm not leaving France with a signature song. There were some memorable tracks scattered across several films. I loved Ira Sachs' period-specific tunes for The Man I Love. Two different songs from Kind of Blue put in an appearance. And a colleague wholeheartedly suggests that this year's song has to be "A Long December," which is implemented snarkily in Teenage Sex and Death at Camp Miasma. But still, no musical moment fully wowed me. And maybe that says something about the lineup's relative strengths. Certainly, this Cannes featured some significant movies. But perhaps not enough. And, likewise, no song that encapsulated the highs that come from discovering unexpectedly terrific films.

Going into this edition, the major story was that Hollywood was sitting the festival out, with only a handful of American indie auteurs screening their latest projects. I wasn't concerned about that relative lack of a U.S. presence, figuring that the established international directors would more than compensate. (They usually do, as witnessed by last year's all-timer edition.) And, sure enough, as I look at my rankings of this year's Cannes films, many of my top picks are from the big names. But what ultimately hurt this Cannes was that there weren't enough exciting surprises, the out-of-nowhere stunners from filmmakers whose names you needed to learn. (Here's where I have to own up to not being able to catch up with a few movies from exactly those kinds of emerging talents. I cannot wait for La Gradiva, Everytime, The Match and Rehearsals for a Revolution.) In retrospect, maybe the 79th Cannes Film Festival will be remembered as a transitional one, the new guard about to supplant the old masters. That sounds good to me.

* * * * *   

Without further ado, from worst to best, here's a list of everything I saw, with links leading to individual reviews:   

37. Diamond
36. Her Private Hell
35. The Birthday Party
34. Parallel Tales
33. Butterfly Jam
32. The Electric Kiss
31. Another Day 
30. Gentle Monster
29. Sheep in the Box
28. La Bola Negra
27. Bitter Christmas
26. A Woman’s Life
25. Jim Queen
24. The Beloved 
23. The Unknown
22. Aqui
21. In Waves
20. I'll Be Gone in June
19. Coward
18. Nagi Notes 
17. Ashes
16. Club Kid
15. The Blow
14. Hope
13. The Dreamed Adventure
12. The Diary of a Chambermaid 
11. A Man of His Time
10. Teenage Sex and Death at Camp Miasma 
9. Paper Tiger 
8. Clarissa
7. Minotaur
6. Fjord 
5. The Man I Love
4. Moulin
3. Fatherland 
2. Once Upon a Time in Harlem
1. All of a Sudden               

You may notice that my No. 2 film, Once Upon a Time in Harlem, premiered at Sundance. That remarkable documentary played in Directors' Fortnight; I wish I could have seen it a second time, especially with a more international audience. But for now, it ranks just slightly behind Ryusuke Hamaguchi's All of a Sudden, a three-hour stunner that screened early in the Competition, promising an incredible festival that never quite materialized. No matter: The Hamaguchi film is singular, capturing the acclaimed writer-director pushing himself into even more extraordinary terrain. And for all the talk about a weak Competition, I'm awfully happy to have seen the riveting new films from Cristian Mungiu, László Nemes, Paweł Pawlikowski, Ira Sachs and Andrey Zvyagintsev. Did Pedro Almodóvar, Asghar Farhadi and Hirokazu Koreeda let me down with their misfires? Absolutely, but even the greats stumble from time to time.

One film not included in my rankings was Ken Russell's The Devils, from 1971, which screened in Cannes Classics and was the hot ticket of the festival. Only screening once, and in one of the smaller theaters, the restored director's cut may not have been my favorite film of this year's edition, but it was easily the most energizing moment of Cannes. I haven't watched The Devils since college, but its audaciousness and shock hadn't lessened, and its emotional undercurrents were far richer than I recalled. Many in the room had never seen the film, and you could feel the thrill of discovery happening in real time. That's what film festivals, and film love in general, is all about. This new restoration looks immaculate; you should seek it out when it opens in the U.S. 

* * * * *    

I've been coming to Cannes since 2013, and last year was the first time I correctly guessed what film would win the Palme d'Or. Not that I think I'm on some sort of roll now, although once again this year I did see all 22 films in Competition. 

Best as I can tell, there are three likely contenders to take home the big prize: All of a Sudden, Fatherland or Minotaur. I think all three movies are superb, which makes it even harder to predict a winner. What also makes it tricky is that the jury is made up of only nine people, and who can possibly guess what films, say, Park Chan-wook or Demi Moore really dug? Is it the kind of movies they themselves make? Are they movies that speak more to the head or the heart? Who knows? This uncertainty, of course, makes the guessing all the more fun.

In their own way, each of my three contenders Grapple With How We Live Now. Hamaguchi offers hard-earned optimism while Pawlikowski and Zvyagintsev are more suspect about what seems like the permanent bleakness of our moment, with Fatherland connecting 1949 Germany to now and Minotaur returning to the initial invasion of Ukraine by Russia. If there is a "perfect" film of the three -- a term I use extremely advisedly -- it would be the precise, controlled Fatherland, which says everything it wants to say in 82 minutes. On the other end of the spectrum is All of a Sudden's enveloping 196 minutes, which encompasses the beginning, middle and end of a short-lived friendship in its expansive running time. Minotaur is chillier than the other two, reaffirming Zvyagintsev's status as one of our greats, and it's probably the most "conventional" -- another term I'm using extremely advisedly -- in its narrative approach. 

After much debate, it's also the film I'm picking to win the Palme d'Or. Minotaur's merging of the story of a businessman who suspects his wife of adultery with a larger commentary on the corruption going on in Russia is an affecting strategy that could resonate with jury members who want to vote for something that's political but also about people. Plus, there's Zvyagintsev's own story: He spent 40 days in a coma during Covid and was close to death. Will the jury be moved by his circumstance? Maybe, maybe not. But if Fatherland's concision might come across as airless to those immune to its spell -- and All of a Sudden too "baggy" to the impatient -- Minotaur's potent timeliness could be an ideal compromise choice for Park and his fellow jurors. How certain do I feel about my pick? Oh, maybe 20 percent. 

We'll see soon enough if I'm right. But before I sign off, one last thought: Perhaps this year's unofficial song was the one that was mentioned consistently whenever anyone discussed Koreeda's Competition title, Sheep in the Box. You won't believe how many people, independently of one another, asked me, "Do you just keep getting 'Dick in a Box' stuck in your head when you hear that title?" I hadn't, but I certainly did after colleagues kept bringing it up. Maybe this year's Cannes wasn't an all-timer, but we found ways to amuse ourselves nonetheless.

Sundance 2025: Ranking the Best and Worst of the Festival

There's a temptation among film critics when they don't attend a particular festival to look askance at those who do, especially if those attendees rave about a lot of the movies there. The cynical assumption is that, amidst the prestige and excitement (and privilege) of being at a festival, these critics lose their ability to be discerning. Those feelings are only amplified when glowing reviews come out of Sundance, the theory being that, because of Utah's higher elevation, critics are susceptible to become more forgiving of mediocre movies than they would at sea level.

But a funny thing happened this year in Park City: Just about everyone I saw at the festival was similarly glum about the films they were watching on the ground, grousing that there were no big breakthroughs, no major discoveries, no instant classics. Actually, much of the talk at Sundance wasn't about the movies but, rather, where the festival was headed. And I don't mean philosophically; this was a more literal question, with Sundance moving to Salt Lake City, Boulder or Cincinnati in 2027. The festival's team made it clear that they didn't have any answers about that yet, so don't ask, but nonetheless that uncertainty also contributed to creating a feeling that something was ending, that the glory days were over. Add to that Trump's return to the White House and the fires in Los Angeles, and it was easy to see why many downbeat Park City attendees wrote off this year's edition as a disappointment.

For once, it was actually the people not at the festival who were more positive. Those who stayed home, using the festival's online platform to see certain films, were generally a lot happier with Sundance's 2025 installment. Partly, that was because they only watched movies we on the ground had already determined were good. But I also think not being at Sundance, which didn't feel as packed or lively as in previous years, helped keep one's focus on the films as opposed to the lack of electricity in Park City. 

As I put together my rankings of everything I saw at the festival, it became clear that this actually was a pretty great Sundance, especially in terms of documentaries. My top two films at this year's festival, The Perfect Neighbor and Predators, both of which screened in the U.S. Documentary Competition, feel like films we'll be talking about all year, their thematic connections so self-evident and fascinating that Film Comment ran a panel with their filmmakers (as well as the director of Zodiac Killer Project) to discuss them. Right behind were two features, Sorry, Baby and If I Had Legs I'd Kick You, which took very different approaches to examine an imperiled woman trying to keep her head above water. I count 12 films I would classify as, at least, very good, and that's keeping in mind that there were several more movies I would have liked to have caught but just didn't have the time.

During Sundance, I met a veteran filmmaker who was screening a movie there. "So, what's the vibe of the festival this year?" she asked me. Gloomy, for lots of obvious reasons. But the films compensated if we just let ourselves be open to them.

Below are my rankings, with links leading to individual reviews:

28. Opus
27. By Design
26. Ricky
25. The Ugly Stepsister
24. Rabbit Trap
23. Kiss of the Spider Woman
22. The Legend of Ochi
21. Together
20. The Thing With Feathers
19. The Wedding Banquet
18. Move Ya Body: The Birth of House
17. Folktales
16. Magic Farm
15. Jimpa
14. Omaha
13. Rebuilding
12. Zodiac Killer Project
11. The Alabama Solution
10. Sly Lives! (aka The Burden of Black Genius)
9. 2000 Meters to Andriivka
8. Train Dreams
7. Peter Hujar's Day
6. BLKNWS: Terms & Conditions
5. Twinless
4. Sorry, Baby
3. If I Had Legs I'd Kick You
2. Predators
1. The Perfect Neighbor 

See you all at the next festival. And thanks again to Devika Girish for having me on The Film Comment Podcast to discuss Twinless, By Design and Rabbit Trap.

The Grierson & Leitch Podcast: 'Wolf Man,' 'Back in Action' and Previewing Sundance 2025

It's January, which means talking about bad movies and getting ready for Sundance, which will hopefully feature some great movies. Check out this week's episode down below.

The Forgotten Movies of This Oscar Season

Every year, a collection of really good movies miss out on being nominated for Academy Awards. As a result, you never hear about them during the final stretch of Oscar campaigning. For RogerEbert.com, I sang the praises of 10 of those films. I haven't forgotten them.

The Grierson & Leitch Podcast: 'Mutant Mayhem,' 'Passages' and 'Meg 2'

We're reaching the dog days of summer movie season. And yet, there are still good new movies worth checking out. I sing the praises of the new Turtles animated flick and Passages on our new episode. Check it out below.

My Interview With Adele Exarchopoulos, the Star of 'Passages'

Passages was among my favorite films at Sundance this year. The movie comes out Friday, and for the Los Angeles Times, I spoke to one of the stars of this explosive romantic-triangle drama, Adele Exarchopoulos. We talked about being vulnerable on screen, the importance of intimacy coordinators, and the legacy of Blue Is the Warmest Color. Hope you enjoy.

(Photo by Karla Hiraldo Voleau.)

Must-See LGBTQ Movies

For Pride Month, Rolling Stone put together a list of 50 essential films that encapsulate queer culture. I was honored to be asked to contribute: I wrote about Keep the Lights On, Portrait of a Lady on Fire and Mysterious Skin. You can read the whole thing here.

'Press Play With Madeleine Brand': 'The Current War,' 'Black and Blue,' 'Countdown' and 'Frankie'

Nice to be back on KCRW, this time joined by friend and colleague Katie Walsh. We reviewed four new movies, but I was especially glad to talk about Ira Sachs' underrated Frankie. Hear the whole thing down below.

Toronto 2019: The Wrap-Up and the Rankings

After two-and-a-half weeks, two countries, four flights and 22 reviews, I'm home. It's been a pretty exhilarating journey from my first Venice to my 11th Toronto, and I'm still processing the whole adventure.

But in terms of discoveries, let me focus on Darius Marder's Sound of Metal, which I've been raving about to anyone who would listen. Starring Riz Ahmed as a rock drummer losing his hearing, this is an addiction-and-recovery drama like no other; its potential conventionality is wiped away by what Marder and his capable cast have come up with. Amazon bought Sound of Metal at Toronto, and I hope it finds its audience. (One thing: I've had people express hesitation about seeing the movie because they don't like metal. That is a very small component of the film, and it's dispensed with pretty early on.)

Below is a ranking of every Toronto film I saw, either at TIFF or before, including at Sundance and Cannes. (Links lead to individual reviews.) For now, the adventures are over, and the passport and foreign currency are back in the drawer. It's very nice to be back with Susan, who has gotten hooked on Queer Eye while I've been gone. She also met Peter Farrelly at a screening. I think she was even busier than I was.

46. The Goldfinch
45. Jojo Rabbit
44. Wasp Network
43. Abominable 
42. My Zoe
41. Blackbird
40. Martin Eden
39. The Traitor
38. Lucy in the Sky
37. Honey Boy 
36. Les Misérables
35. The Climb
34. Bad Education
33. Atlantics
32. Pelican Blood
31. Once Were Brothers: Robbie Robertson and the Band
30. Radioactive
29. The Laundromat
28. Zombi Child
27. Adam
26. Dolemite Is My Name
25. Deerskin 
24. The Truth
23. Hope Gap
22. Ema
21. Bacurau
20. Sorry We Missed You
19. A Hidden Life
18. Pain and Glory
17. Portrait of a Lady on Fire 
16. The Perfect Candidate 
15. Knives Out
14. The Kingmaker 
13. State Funeral 
12. Waves
11. Clemency
10. Parasite
9. Frankie
8. The Wild Goose Lake
7. Synonyms 
6. The Whistlers
5. Sound of Metal
4. Joker
3. Uncut Gems
2. Marriage Story
1. The Lighthouse

Cannes 2019: The Wrap-Up and the Rankings

My sixth Cannes was unique in that, as opposed to previous editions, I wasn't in much agreement with my colleagues about what were the festival's best and worst films. I quite liked Little Joe and Frankie, two Competition selections that didn't receive much love elsewhere, while being duly impressed (but not blown away) by Parasite, Once Upon a Time in Hollywood, Portrait of a Lady on Fire and Pain and Glory, which were probably the consensus favorites. And yet, the fact that all four ended up ranking relatively high on my list suggests something I'd suspected over the last two weeks: Every Cannes you get to go to is amazing, but the overall quality of this year's films was below-average. It happens.

Another thing that made this an outlier Cannes: My favorite film wasn't part of the official selections. Over at Directors' Fortnight, Robert Eggers' follow-up to The Witch, The Lighthouse, was the big story, and I finally caught up with it last night. There will be more to say later, but it's a knockout -- and further proof that Robert Pattinson is one of our most exciting and surprising young actors. (While I was at Cannes, news broke that he probably, maybe will play Batman, and if comic-book nerds think he's just the "the Twilight guy," then they don't deserve him.)

I look forward to catching up with a few films that fell through the cracks, including Beanpole, I Lost My Body and The Unknown Saint. I confess there is still a part of me that wants to experience Mektoub, My Love: Intermezzo. I enjoyed seeing colleagues and spending time at my favorite annual festival. And I thank you for reading. My ranking of everything I saw, including films screened in advance, is below, with links leading to individual reviews.

33. Wounds
32. Matthias & Maxime
31. Rocketman
30. The Traitor
29. Les Misérables
28. The Climb
27. Atlantics
26. Tommaso
25. The Dead Don’t Die
24. Zombi Child
23. The Bare Necessity
22. Vivarium
21. Bull
20. Adam
19. The Swallows of Kabul
18. Deerskin
17. Share
16. Bacurau
15. Give Me Liberty
14. Sorry We Missed You
13. Young Ahmed
12. A Hidden Life
11. Pain and Glory
10. Once Upon a Time in Hollywood
9. Portrait of a Lady on Fire
8. Oh Mercy!
7. Ghost Tropic
6. Parasite
5. Little Joe
4. Frankie
3. The Wild Goose Lake
2. The Whistlers
1. The Lighthouse

'Little Men' and Why We Can't All Get Along

Director Ira Sachs makes intimate little movies that I really enjoy. Keep the Lights On, Love Is Strange and now Little Men constitute what he calls his New York trilogy -- they're all set there -- and the new one is about two families who will get ensnared in a rent dispute. Sachs has much to say about the ways that good people do unkind things to each other. I reviewed the film for The New Republic.

Sundance 2016: Ranking the Best and the Worst of the Festival

Another Sundance done. And while there's always a lament that I can't get to everything I would have loved to have seen, I feel better than usual about what I did catch. Still, I look forward to Dark Night, Goat, Love & Friendship, Lovesong, Operation Avalanche, Sand Storm, Weiner, White Girl, Wiener-Dog and others.

For the second straight year, Sundance's best film didn't premiere at the festival: The Lobster (from Cannes) narrowly beat out Antonio Campos' U.S. Dramatic entry Christine in my rankings, followed by Kelly Reichardt's lovely Certain Women and then another Cannes entry, the marvelous Cemetery of Splendor. Twenty-two of the 28 movies on this list would have gotten a thumbs-up from me, and even a few of the misfires down below had enough intriguing moments to keep me relatively engaged for at least a portion of their running time. That's a pretty good festival in my book.

Links lead to individual reviews.

28. Ali & Nino
27. Frank & Lola
26. Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper
25. Captain Fantastic
24. Norman Lear: Just Another Version of You
23. Swiss Army Man
22. Other People
21. Green Room
20. Southside With You
19. Indignation
18. Morris From America
17. Maggie's Plan
16. Equity
15. Tallulah
14. Agnus Dei
13. The Birth of a Nation
12. Embrace of the Serpent
11. Kate Plays Christine
10. Little Men
9. Complete Unknown
8. Michael Jackson's Journey From Motown to Off the Wall 
7. Hunt for the Wilderpeople 
6. Lo and Behold, Reveries of the Connected World
5. Manchester by the Sea
4. Cemetery of Splendor
3. Certain Women
2. Christine
1. The Lobster

Sundance 2016: 'Little Men' Review

When I interviewed filmmaker Ira Sachs in 2014 to talk about Love Is Strange, he told me about the movie he was going to make next. It got cut from the final piece, but here's what he said...

Now, that movie has premiered at Sundance. It's Little Men, which is a quiet little gem. My review is up at Paste.

Sundance 2016 Preview: 10 Must-Sees

Sundance kicks off tomorrow. How many years have I been going now? I can't even remember. (Actually, I just looked it up: This will be my seventh Park City.) For The New Republic, I took a look at 10 (OK, fine, 11) movies I'm very curious to check out. Here ya go.

My Interview With Ira Sachs (and John Lithgow) for 'Love Is Strange'

Yes, it's Love Is Strange Week around these parts. Yesterday, I ran my review of the film, and today I have a profile of its director Ira Sachs (along with a few thoughts from co-star John Lithgow, in the hat above) in Rolling Stone. They were both delightful. Hope you enjoy.

'Love Is Strange' Review

One of the bigger hits at Sundance, Love Is Strange finally opens this weekend in select cities. It's a sweet, sad, wise romantic comedy-drama. I missed the movie at the festival, but I finally caught up with it recently. My review is now live at Deadspin.