Jafar Panahi’s Un Simple Accident Palme characterises a Cannes line-up that will be better known for its political potential than its aesthetic content.
What Remains from Cannes 2025?

Exploring the Outer Edge of Film
Jafar Panahi’s Un Simple Accident Palme characterises a Cannes line-up that will be better known for its political potential than its aesthetic content.
The Phoenician Scheme is a spy caper that feels like a glorified cameo-fest, and is the first Wes Anderson film that feels completely inessential.
An unrequited love story powers Dreams, the final installment in Dag Johan Haugerud’s powerful Sex Love trilogy, playing in Competition.
A trip to a trauma retreat turns increasingly nightmarish in Madeleine Sims-Fewer and Dusty Mancinelli’s Honey Bunch, playing in Berlinale Special.
Vivian Qu’s gritty crime story Girls on Wire is a grim tale about the inevitability of fate that is weighed down by clichéd and stilted storytelling.
The A24 formula works to fine effect in Mary Bronstein’s If I Had Legs I’d Kick You, starring the excellent Rose Byrne.
Dark horse black comedy What Marielle Knows is the funniest film in the Berlinale Competition so far. A Hollywood remake can’t be far away.
Reflection in a Dead Diamond is a loving and deeply satisfying riff on classic spy tropes with a true and abiding love of the genre.
Lucile Hadžihalilović’s The Ice Tower is a forbidding and slow riff on Hans Christian Andersen with a movie star performance from Marion Cotillard.
Lesbian desire and mother-daughter issues intermix on the beach in Rebecca Lenkiewicz’s debut feature Hot Milk. Playing in Competition.