Every IndieWire Review Published During the 2024 Cannes Film Festival

Christian Zilko
·1 min read

Few periods on the calendar mean more to cinephiles than the two weekends in May occupied by the Cannes Film Festival. Since its founding in 1946, the French festival has been a launchpad for some of the most artistically significant films of all time. The Palme d’Or is one of the most coveted film awards on the planet, and the festival’s ability to balance subversive arthouse work with major Hollywood premieres has led many to view it as the world’s most significant celebration of cinema.

The 2024 lineup featured a mix of buzzy premieres from New Hollywood titans like Francis Ford Coppola and Paul Schrader alongside exciting new works from emerging directors. Between the Main Competition, Un Certain Regard, special screenings, and sidebars like the Directors’ Fortnight and Critics’ Week, the onslaught of new films can be overwhelming for anyone who isn’t able to give the festival their 24/7 attention. IndieWire has covered dozens of films across every section of the festival, and we’ve compiled them all in on place for your convenience.

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Keep reading for an updating list of every film review that IndieWire has published during the 2024 Cannes Film Festival, listed chronologically in order of publication.

‘The Second Act’ Review: Quentin Dupieux’s Cannes Opener Is a Fourth Wall-Wrecking Farce Starring France’s Biggest Names

‘Ghost Trail’ Review: Syrian Refugees Track Down the Ghosts of Their Past in Savvy Manhunt Thriller

‘This Life of Mine’ Review: Sophie Fillières’ Posthumous Directors’ Fortnight Opener Is as Personal as Cinema Gets

‘Wild Diamond’ Review: Social Realist Influencer Drama Is Frustrating and Familiar Despite a Compelling Lead

‘When the Light Breaks’ Review: A Dark Scandi Drama About What Happens When Grief Isn’t Allowed

‘Furiosa: A Mad Max Saga’ Review: George Miller Paves the Way for ‘Fury Road’ with One of the Greatest Prequels Ever Made

‘The Damned’ Review: Roberto Minervini’s Documentary-Like Civil War Drama Is a Cold Slog Into Hell and Back

‘On Becoming a Guinea Fowl’ Review: Trauma Clashes with Tradition in a Searing Zambian Drama

‘Bird’ Review: Barry Keoghan and Franz Rogowski Shine in Andrea Arnold’s Strangest Movie Yet

‘Christmas Eve in Miller’s Point’ Review: Michael Cera and Francesca Scorsese Lead a Holiday Movie That Will Keep You Warm All Year

‘Kinds of Kindness’ Review: Yorgos Lanthimos’ Hostile Anthology Feels Like an Allergic Reaction to His Recent Success

‘Three Kilometers to the End of the World’ Review: A Homophobic Attack Is Told from All Sides but the Victim’s

‘Everybody Loves Touda’ Review: A Moroccan Singer Struggles to Pursue Her Art in Heartrending Drama

‘Oh, Canada’ Review: Paul Schrader’s Rueful Ode to Death and Regret Is as Confused as Its Protagonist

‘The Surfer’ Review: Nicolas Cage Goes Mad in This Hallucinatory Australian Thriller

‘Savanna and the Mountain’ Review: Brechtian Documentary Shines Light on the Ugly Nuances of Environmentalism

‘Queens of Drama’ Review: Glittercore Pop-Punk and Noughties Toxicity Collide in Queer French Musical Drama

‘Armand’ Review: Renate Reinsve’s Best Performance Is in This Tense Classroom Drama from Ingmar Bergman’s Grandson

‘Savages’ Review: This Claymation Environmental Adventure Is a Full-Throttled Attack on Colonialism

‘Caught by the Tides’ Review: Jia Zhang-ke’s Drifting Portrait of Love Across Time Will Delight Fans and Mystify Newcomers

‘Emilia Pérez’ Review: Jacques Audiard’s Bonkers Trans Musical Is a Debacle You Won’t Forget

‘Jim Henson Idea Man’ Review: Ron Howard Looks Beyond Muppet Charm to Portray a Genius

‘The Balconettes’ Review: Three Women Try to Dispose of a Rapist’s Body in Noémie Merlant’s Delirious Revenge Comedy

‘Eephus’ Review: Not Even Beer League Baseball Is Spared the Cruel Passage of Time

‘The Falling Sky’ Review: Documentary Combats Erasure of Native Culture in Amazon Through Filmmaking

‘Limonov: The Ballad’ Review: Ben Whishaw Electrifies as an Outlaw Poet in Kirill Serebrennikov’s Punk Rock Epic

‘The Substance’ Review: Margaret Qualley Helps Demi Moore Feel Young Again in an Epic, Audacious, and Insanely Gross Body Horror Masterpiece

‘The Kingdom’ Review: Intense Coming-of-Age Crime Saga Sends a Father and Daughter on the Run

‘The Other Way Around’ Review: A Fun, Feisty, Anti-Romantic Comedy That Hollywood Should Learn from

‘Horizon: An American Saga – Chapter 1’ Review: Kevin Costner Flattens the American West with the Dullest Cinematic Vanity Project of the Century

‘Santosh’ Review: This No-Frills Police Drama Is a Master Class in Subtlety

‘The Apprentice’ Review: Jeremy Strong and Sebastian Stan Can’t Save This Donald Trump Origin Story from the Ultimate Banality of Its Subject

‘Mongrel’ Review: Impressive Taiwan-Set Debut Explores a Thai Migrant’s Troubles in the Mountains

‘The Shrouds’ Review: David Cronenberg Draws on His Wife’s Death for a Brilliantly Cerebral Thriller About the Physicality of Grief

‘My Sunshine’ Review: Hiroshi Okuyama’s Lilting, Lovely Coming-of-Ager Skates at the Edge of Darkness

‘Black Dog’ Review: The 2008 Olympics Cast Shadows Over a Lost Soul and His Lost Dog in Guan Hu’s Desert Noir

‘The Village Next to Paradise’ Review: A Promising Debut Wonders How We Can Find Meaning in a World of Brutality

‘September Says’ Review: Ariane Labed Moves from Acting to Directing with a Disturbing Portrait of Codependent Sisters

‘Anora’ Review: Mikey Madison Is a Sex Worker Who Marries Rich in Sean Baker’s Heartbreaking but Hilarious Class Comedy

‘Marcello Mio’ Review: Christophe Honoré’s Slight Meta-Movie Puts Chiara Mastroianni in the Spotlight

‘Parthenope’ Review: Paolo Sorrentino Drives Himself Crazy Trying to Imagine What Life Would Be Like for the World’s Most Beautiful Woman

‘Gazer’ Review: A Mother’s Dyschronometria Hides Her Own Ticking Clocks in a Brilliantly Paranoid Debut

‘Viet and Nam’ Review: This Spellbinding Drama Explores Young Romance — and History’s Ghosts

‘To a Land Unknown’ Review: This Palestinian Twist on ‘Midnight Cowboy’ Is Full of Masterful Storytelling and Wrenching Humanity 

‘Grand Tour’ Review: Miguel Gomes’ Beguiling Colonial Romance Travels from Saigon to Shanghai in Search of Lost Time

‘Filmlovers!’ Review: Arnaud Desplechin’s Hybrid Essay Film Explores His Abiding Love of Cinema

‘Motel Destino’ Review: Sex and Nihilism All the Time in Karim Aïnouz’s Neon Collision of ‘Crash’ and ‘Body Heat’

‘Rumours’ Review: Cate Blanchett Plays the Chancellor of Germany in Guy Maddin’s Brainy Comedy About Political Incompetence

‘Universal Language’ Review: Guy Maddin Meets Abbas Kiarostami in a Deadpan Canadian Fable

‘Flow’ Review: A Cute Kitty Centers One of the Most Groundbreaking Animated Films About Nature Since ‘Bambi’

‘Beating Hearts’ Review: Gilles Lellouche’s Vivid, Violent Romantic Epic Packs a Hell of a Punch

‘The Seed of the Sacred Fig’ Review: Mohammad Rasoulof Emerges from Iran with a Shattering Domestic Thriller About Patriarchal Violence

‘The Most Precious of Cargoes’ Review: Michel Hazanavicius’ Animated Palme d’Or Contender Is an Elegant Fable About the Darkest of Times

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