Cannes remains the coveted stage every director hopes to reach, yet not every filmmaker can find a seat in its elite program. Describing this as a problem is like lamenting that a dozen Manolos won’t fit into a single shoe closet—an apt metaphor for the challenge faced by the festival’s programmers. The question they wrestle with is whether to fill the lineup with renowned names or to refresh the slate with bold new voices, aiming to balance proven quality with energetic new talents like Luis Enrique did for the Spanish national team.
In its 75th edition, the festival attempted the familiar blend of tradition and risk. The lineup features established victors such as the Dardenne brothers, Hirokazu Kore-eda, Jerzy Skolimowski, and others who may have dulled the element of surprise, alongside up-and-coming talents like Lukas Dhont and Leonor Serraille. The selection showcases a spectrum that includes every shade of cinema, reflecting the reality that Cannes serves as a vast exhibition of hundreds of films. The festival’s prestige is immense, but the notion of a selective top ten remains a constant talking point across the industry.
“Top Gun: Maverick” by Joseph Kosinski
The sequel to the 1986 classic that made Tom Cruise a sky-high icon isn’t merely another blockbuster. It stands as a cinematic celebration of big-screen spectacle—an experience that invites audiences to witness high-flying stunts and adrenaline-packed moments on the largest possible screen. The film is set for global release next week.
“Pacific” by Albert Serra
Albert Serra, a Cannes regular since his 2006 breakout with Honor de cavalleria, finally steps into Palme d’Or contention with this latest work. The narrative follows a writer returning home from his seventh feature, after a commanding success in French Polynesia, as he faces a creative crisis. The project is a co-production among Spain, France, Germany, and Portugal.
“Showing” by Kelly Reichardt
Reichardt, one of today’s most respected voices, makes a long-awaited return to competition. The film follows a New York-based artist who channels the chaos of life around him into his art, as he prepares for what could be the most important exhibition of his career. This marks Reichardt’s fourth collaboration with Michelle Williams, adding a new layer of anticipation to her celebrated body of work.
“Triangle of Sadness” by Ruben Östlund
Östlund, who stunned the festival five years earlier by winning the Palme d’Or with Square, returns with his first English-language feature. The comedy-drama follows a group of characters who end up stranded on a deserted island after their luxury yacht sinks, promising sharp misanthropy and a fresh look at social dynamics through his signature black humor.
“The Noon Stars” by Claire Denis
Denis adds to a festival season that already witnessed her Berlinale triumph for Best Director. The film, adapted from a 1986 novel, is set against the backdrop of Nicaragua during the Sandinista era and centers on a British businessman and an American journalist whose romance becomes entangled in a web of deceit and political intrigue.
“Crimes of the Future” by David Cronenberg
Cronenberg remains a beloved Cannes figure who has yet to win the Palme d’Or. Returning to the festival after an eight-year hiatus, he presents a new work exploring a future where human evolution accelerates and an artist investigates the boundaries of the body, with a provocative stage for transformation and performance.
“The Best Ones” by Rodrigo Sorogoyen
Sorogoyen’s latest work marks his first appearance in the Cannes competition, bringing together two prominent French performers, Denis Menochet and Marina Fois. The film follows a couple who encounter hostility from their new Galician neighbors, a setting that Sorogoyen renders with his characteristic tension and precise storytelling, co-writing with Isabel Peña.
“Irma Vep” by Olivier Assayas
Assayas returns to Cannes with an eight-part remake starring Alicia Vikander, revisiting a concept that has evolved since his 1996 film. The project reunites the French director with his long-standing collaborators and stirs anticipation for a modern reimagining of a classic tale, following his acclaimed Best Director recognition for Personal Shopper.
“The Decision to Leave” by Park Chan-wook
Park Chan-wook’s new film centers on a detective who falls for a enigmatic widow and becomes entangled in a murder case he is investigating. The director, known for his decisive visual language, continues to push the boundaries of genre and mood within the festival circuit.
“Holy Spider” by Ali Abbasi
Abbasi’s newest work follows a killer in Mashhad who believes his actions are a divine mission to cleanse the city’s streets. The film navigates issues of morality, religion, and power as it traces a chilling path through a society that struggles with fear and complicity. The project comes on the heels of Abbasi’s acclaimed The Border, which earned recognition at Cannes in 2018 and further cements his status as a provocative voice in contemporary cinema.