Film Settlements, directed by Chilean filmmaker Felipe Gálvez, and I grew up, the project from Brazilian cineasta Lillah Halla, earned the FIPRESCI prize from international critics this weekend. The accolades came as Cannes showcased a blend of bold viewpoints and sharply drawn parallel narratives that resonated with audiences and critics alike.
These two works stand as contrasting yet equally compelling opera prima in their thematic scope and method. Los Colonos, a feature that revisits the massacres of indigenous communities in southern Chile during the early 20th century, unfolds alongside Levante, a young athlete confronting an unwanted pregnancy. The juxtaposition underscores how film can illuminate difficult histories and intimate human struggles with equal intensity.
Among the 21 films vying for the Palme d’Or, The Zone of Interest emerged as a standout, depicting the daily life of an Auschwitz commandant and his family inside a house surrounded by flowers, a stark counterpoint to the surrounding camp’s grim reality. Critics highlighted the film as a masterclass in balancing intimate domestic scenes with the chilling backdrop of historical atrocity. Citation: Cannes Film Festival, Official Selection.
Los Colonos received its award for its potent storytelling and its unflinching examination of power structures that have long silenced the socio-political conflicts tied to Latin America’s colonial past. The film’s direction projects confidence and clarity, making it a persuasive voice in a difficult historical conversation.
Felipe Gálvez expressed pride in earning a Chilean film prize at Cannes for the first time, noting that the film carries substantial weight. He described the work as difficult, possessing a certain beauty, yet rough in its depiction. The production is framed as a conversation and debate about difficult truths, which helped shape the film’s reception at the festival’s 76th edition. Citation: Cannes Film Festival Coverage.
Los Colonos, which will see its Chilean release later this year and has already circulated in France and Argentina, is seen as important because it brings to light the genocide of an Indigenous people that had long remained buried in the nation’s historical record.
In the parallel sections—Critics’ Week and Directors’ Fortnight—the Brazilian film Levante earned the Critics’ Week award, praised for its strong performances, dynamic editing, engaging score, and a narrative that powerfully supports the argument that abortion is a human right. The film’s stance on bodily autonomy was highlighted as a central, urgent theme.
Halla stressed that the award holds deep significance for the Brazilian cinema community, describing it as a sign of the country’s cultural renaissance. The recognition aligns with ongoing local cultural leadership, notably under the current national minister of culture since January. The director added that the prize helps spread their ideas worldwide and affirms the right to exist, as well as the right to defend bodies and creative expressions. Citation: Cannes Critics’ Week and Directors’ Fortnight Programs.
awards night
In another honored strand, Field of Interest, also celebrated as a favorite to claim the Palme d’Or, was praised for its radical formal approach, a meticulous study of sound and music, and the stark contrast between a distant brutal reality and the polished surface of an imagined paradise. Critics noted the film’s portrayal of everyday evil and its dialogue with the present, linking past denial to current events. Citation: Cannes Official Jury Notes.
The jury commented that the film’s depiction of the banality of evil and its contemporary resonance makes it a potent meditation on denial as a force that bridges eras. The award was accepted by a crew member when the director could not attend the ceremony. Citation: Cannes Closing Statements.
Also on Sunday, the Golden Eye was awarded to a best documentary entry that stood out in the official competition, while the Tunisian director Kaouther Ben Hania and Moroccan Asmae El Moudir received recognitions in the Un Certain Regard section for Olfa’s Daughters and La mere de tous les mensonges, respectively.
And the Ecumenical Prize went to Wim Wenders’s Perfect Days in the official competition, lauded as a cinematic jewel with poetic quality. The film was celebrated for its hopeful, transformative portrayal of daily life and personal renewal. The Ecumenical jury also offered a special mention to Old Oak by Ken Loach, commending its strong depiction of immigration, populism, and solidarity in working-class communities.
These awards collectively reflect a Cannes edition rich in social commentary, historical reckoning, and expressive cinema that seeks to connect local stories to universal human experiences. They mark a visually and politically charged moment for contemporary cinema across the Americas, Europe, and beyond. Citation: Cannes Awards Overview.