The Good, the Hellish, and the Just-OK from Cannes
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Cannes 2026 may be the quietest in years, but it delivered two cinematic masterpieces that remind us why the festival still matters: *Fjord*, a morally complex Norwegian family drama about religious isolation and state overreach, and *Minotaur*, a politically charged Russian remake of *Unfaithful* that electrified audiences with its visual precision and emotional intensity. Despite a string of underwhelming returns from revered auteurs like Pedro Almodóvar and Nicholas Winding Refn—whose *Her Private Hell* left viewers baffled and disengaged—the festival’s most talked-about film, *Hope*, a genre-bending alien invasion epic with video-game-level effects, polarized critics and audiences alike. The lack of major studio releases and early distributor buys has diminished the usual Cannes spectacle, but the jury’s final decision—likely favoring *Minotaur* or *Fjord*—will hinge on whether they reward bold storytelling over spectacle. With awards season looming, *Fjord*, *Minotaur*, and *Gentle Monster* are emerging as serious contenders, while *Hope*’s ambition may earn it a directorial nod despite its tonal chaos.
Fjord is a morally complex family drama that challenges viewers’ loyalties, making it one of the most thought-provoking films at Cannes 2026.
Minotaur, a politically charged remake of Unfaithful, delivered jaw-dropping filmmaking and a standing ovation, positioning it as the top Palm d'Or contender.
Hope, a high-budget alien invasion film, is a divisive spectacle with video-game-level effects that impressed some but confused others.
The festival’s quiet year reflects a shift: fewer major studio films and early distributor buys have reduced the usual buzz and sales momentum.
Despite weak performances from auteurs like Almodóvar and Refn, strong performances from Sebastian Stan and Charles Melton stand out.
…and 3 more takeaways available in PodZeus
Welcome to Cannes 2026
Hosts Rebecca Ford and John Ross kick off their final dispatch from the Cannes Film Festival, setting the tone with reflections on the festival’s atmosphere, the rain-soaked red carpet, and Barbra Streisand’s absence due to knee surgery.
Fjord: The Film That Changed Everything
“I've been comparing it to Anatomy of a Fall. Like the story is very different, but it has a large part of it that's set in a court case. And it really makes you, as you're saying, you sort of can't figure out which character you're rooting for because it's so complicated and your loyalty keeps switching.”
Almodóvar’s Bitter Christmas: A Disappointing Return
The hosts critique Pedro Almodóvar’s *Bitter Christmas*, calling it a disjointed, unfocused film that fails to coalesce despite strong production design and performances, marking it as one of his weakest works in years.
Hope: A Genre-Bending Spectacle
“I don't know if I liked it or not. Like the answer is like no, but I was so impressed by some of it that it sort of won me over by the end.”
Her Private Hell: Refn’s Creative Collapse
“It's about a young actress living in some weird you know, fake sunset tower. They're filming a movie. There's a mythology of a man who's killing women that also might be her daddy. There's lots of daddy stuff. Yep. No scene really is connected to the scene prior, so it's not really about anything.”
“Literally everyone in the audience, like you could feel like everyone moved to the actual edge of their seats. It's really good. This and Fjord, just like, that's why we're here. That's why we come to this festival. We come to this place for magic.”
“It's about a young actress living in some weird you know, fake sunset tower. They're filming a movie. There's a mythology of a man who's killing women that also might be her daddy. There's lots of daddy stuff. Yep. No scene really is connected to the scene prior, so it's not really about anything.”
“I've been comparing it to Anatomy of a Fall. Like the story is very different, but it has a large part of it that's set in a court case. And it really makes you, as you're saying, you sort of can't figure out which character you're rooting for because it's so complicated and your loyalty keeps switching.”
Hosts
john ross
person
rebecca ford
person
christiane manjou
person
pedro almodovar
person
neon
organization
nicholas winding refn
person
nahang jin
person
sebastian stan
person
park chan-wook
person
andrzej zuławski
person
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