{"id":714,"date":"2026-05-26T14:12:21","date_gmt":"2026-05-26T14:12:21","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=714"},"modified":"2026-05-26T14:12:21","modified_gmt":"2026-05-26T14:12:21","slug":"hollywood-movies-largely-sat-out-cannes-this-year-does-the-festival-need-them","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=714","title":{"rendered":"Hollywood Movies Largely Sat Out Cannes This Year. Does the Festival Need Them?"},"content":{"rendered":"
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\n\tLike most major film festivals, Cannes tends to be something of a choose-your-own-adventure affair: Any two people\u2019s perspectives of the fest are likely to vary wildly depending on their professional remit or personal inclination. A critic watching upwards of 40 films over the 12 days is not having the same experience as an executive lining up more meetings than screenings; even for those festivalgoers primarily there for the movies, someone laser-focused on the Competition is on a whole other beat from someone sniffing out discoveries in the sidebars.<\/p>\n

Read more Jason Sudeikis, Stephen Graham, Jodie Turner-Smith and More Star in Burberry Sports Campaign<\/a><\/p>\n

\n\tThis year, however, a common sentiment seemed to unite most of those disparate factions. Ask the standard festival icebreaker \u2014 \u201cHow\u2019s your Cannes going?\u201d \u2014 to any random selection of people at a beach cocktail or in the Debussy queue, and you were likely to hear variations of one word over and over: \u201cQuiet.\u201d\u00a0<\/p>\n

\n\tWhether you were a sales agent eyeing a leisurely buyer\u2019s market or a freelance journalist picking up fewer interview commissions than usual, this felt like a low-key Cannes. Not necessarily a bad one (for this critic, at least, there were more than enough substantial films to make the trip rewarding) but not the buzziest one either. Call it a vibe shift, but compared to last year \u2014 whether you got excited by Tom Cruise working his megawatt magic at the \u201cMission: Impossible \u2013 The Final Reckoning\u201d premiere or Olivier Laxe\u2019s \u201cSir\u0101t\u201d giving the Competition a jolt of WTF energy, the way nothing quite did this year \u2014 the 2026 festival was altogether calmer, as if the volume and brightness had both been turned that little bit down.<\/p>\n

\n\tOne reason for that, as festival director Thierry Fr\u00e9maux has been quick to note throughout, was the diminished presence of America in the program. Only two U.S. productions made the Competition lineup, James Gray\u2019s \u201cPaper Tiger\u201d and Ira Sachs\u2019 \u201cThe Man I Love\u201d \u2014 both were fairly well-received but not ecstatically so, and neither won any awards.\u00a0It was left to South Korean auteur Na Hong-jin\u2019s exhilarating, extravagantly bonkers monster movie \u201cHope\u201d to bring the popcorn spirit of Hollywood studio cinema to the Competition, though it\u2019s not, of course, in any way an American production.<\/p>\n

\n\tAmerica fared better in the Un Certain Regard program. Jane Schoenbrun\u2019s delicious Queer Palm winner \u201cTeenage Sex and Death at Camp Miasma\u201d opened the section with a bang, handily outstripping the festival\u2019s official opener, \u201cThe Electric Kiss,\u201d in the buzz stakes; Jordan Firstman\u2019s crowdpleaser \u201cClub Kid\u201d sparked the most heated bidding war of the festival, eventually won by A24 for a cool $17 million. The film is an outwardly edgy indie with a soft-hearted Hollywood sensibility. Would it have made as much noise in a year with more broadly commercial fare like it? Hard to say.<\/p>\n

\n\tA handful of other vaguely starry U.S. titles were scattered through the official selection \u2014 among them Andy Garcia\u2019s \u201cDiamond,\u201d John Travolta\u2019s \u201cPropeller One-Way Night Coach,\u201d new documentaries by Steven Soderbergh and Ron Howard \u2014 but didn\u2019t fire many imaginations. Conspicuously absent, however, was any kind of major blockbuster premiere. Steven Spielberg has previously unveiled summer releases like \u201cIndiana Jones and the Kingdom of the Crystal Skull\u201d and \u201cThe BFG\u201d on the Croisette, but despite an imminent release date, his upcoming \u201cDisclosure Day\u201d stayed away. In 2018, Disney was happy to take \u201cSolo: A Star Wars Story\u201d to Cannes; \u201cThe Mandalorian and Grogu,\u201d not so much.<\/p>\n

\n\tIs this any great loss? Well, it depends who you ask. Serious cinephiles don\u2019t much care whether or not Cannes hosts the premiere of a film that will shortly be in multiplexes everywhere, but the red-carpet currency of a Cruise-level megastar at the festival is not to be discounted. Like the proverbial rising tide that lifts all boats, the hype attending a burgeoning summer phenomenon directs more crowds and camera lenses to the festival; the smaller films premiering alongside it, meanwhile, benefit from the increased industry and media presence. A few years ago, \u201cTop Gun: Maverick\u201d proved pretty much the platonic ideal of a Cannes blockbuster premiere: The festival got to look sexy and populist by inviting it, while the Cannes imprimatur gave the action sequel a veneer of prestige that carried it all the way to the Oscars.<\/p>\n

\n\tBut not everything can be \u201cTop Gun: Maverick,\u201d of course. The next year, James Mangold\u2019s disappointing \u201cIndiana Jones and the Dial of Destiny\u201d premiered at Cannes six weeks before its scheduled release date, and was met with tepid-to-negative reviews, somewhat bursting the film\u2019s bubble; Disney hadn\u2019t counted on over a month of bad buzz before the film even reached paying audiences. The aforementioned \u201cSolo\u201d was similarly burned: If a studio isn\u2019t absolutely confident a film has the goods, there\u2019s far more to be lost than gained by putting in the festival spotlight.<\/p>\n

Read more Michelle Obama and Craig Robinson to Host Live Recording of Their \u2018IMO\u2019 Podcast at SXSW London<\/a><\/p>\n

\n\tWas that skittishness behind Hollywood\u2019s absence from Cannes this year? Or was it just a matter of bad timing: one of those years when a lot of the right projects weren\u2019t ready at the right time? Possibly a bit of both: Venice, lately the preferred festival for launching studio Oscar hopefuls, could pick up the slack in September. But it could just be that the aspirations of Cannes and those of American prestige cinema aren\u2019t mutually dependent. Fr\u00e9maux spoke regretfully at Cannes about how Paul Thomas Anderson\u2019s Oscar champ \u201cOne Battle After Another\u201d was planned to premiere at last year\u2019s festival, prior to its release delay. It certainly would have played like gangbusters on the Croisette, but ultimately the film proved it could bypass the festival circuit entirely at no cost to its popularity with critics, audiences or awards voters.<\/p>\n

\n\tCannes, meanwhile, didn\u2019t feel artistically diminished for having a reduced U.S. presence this year: European films as strong as Cristian Mungiu\u2019s Palme d\u2019Or winner \u201cFjord,\u201d Andrey Zvyagintsev\u2019s Grand Prix winner \u201cMinotaur\u201d and Pawel Pawlikowski\u2019s Best Director winner \u201cFatherland\u201d held up the festival\u2019s reputation just fine without any assistance from across the pond. Indeed, a key story of this year\u2019s Cannes was how it showcased the necessity of global co-production in making major-league art cinema today. <\/p>\n

\n\tThe three films I just mentioned all found their directors working away from home turf, either by practical or narrative necessity, as did other fest favourites like \u201cAll of a Sudden,\u201d Ryusuke Hamaguchi\u2019s tale of French-Japanese social fusion, Jury Prize winner \u201cThe Dreamed Adventure,\u201d in which German auteur Valeska Grisebach continues her probe into Bulgarian society, or over in the Directors\u2019 Fortnight sidebar, Romanian provocateur Radu Jude\u2019s pointed French class satire \u201cDiary of a Chambermaid.\u201d\u00a0In other words, the idea of world cinema as comprising a map of distinct, singular national cinemas is an altogether dated one; even the Academy has acknowledged as much, by adjusting the submissions rules of its Best International Feature category, and Cannes reflected that truth too.<\/p>\n

\n\tStill, it was hard not to notice the heavily Eurocentric slant of this year\u2019s lineup, with 17 of the 22 Competition titles (and, as it turned out, all eight Competition prizewinners) either wholly or predominantly European productions. Well, it is a European festival, after all. But with a smaller American contingent making for some extra space in the lineup, Cannes missed an opportunity to get a little more creative and a little more diverse in its programming.\u00a0<\/p>\n

\n\tWhere was the African, Latin American or Middle Eastern cinema in Competition? \u201cClarissa,\u201d Nigerian duo Arie and Chuko Esiri\u2019s inspired Lagos-set reworking of \u201cMrs. Dalloway\u201d starring a radiant Sophie Okonedo, was as Competition-worthy as anything on distributor Neon\u2019s crowded slate. A few years ago, Cannes took a chance on Senegalese newcomer Ramata-Toulaye Sy by placing her debut \u201cBanel and Adama\u201d in its most prestigious tier; could Rwanda\u2019s Marie Cl\u00e9mentine Dusabejambo, who ultimately took the Camera d\u2019Or for her Un Certain Regard pick \u201cBen\u2019Imana,\u201d not have been likewise promoted?<\/p>\n

\n\tIt is an irony that the festival\u2019s programming biases were arguably more exposed than they were counteracted by an off-year for American cinema. If it was a quiet Cannes for many of us, it didn\u2019t have to be: Invite the whole world to the party, and things will get a whole lot louder.<\/p>\n

Read more Brazil\u2019s \u2018Carolina Maria de Jesus,\u2019 a Goes to Cannes Showcase Winner, Is \u2018Not Only a Film, It\u2019s a Movement About Historically Invisible People\u2019<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

There was no ‘Top Gun: Maverick’-style Hollywood hit at Cannes this year, even as U.S. titles like ‘Paper Tiger’ and ‘Club Kid’ were well-received.<\/p>\n","protected":false},"author":1,"featured_media":229,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3,745,746,747,748,749],"class_list":["post-714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-cannes-film-festival","tag-club-kid-2","tag-paper-tiger-2","tag-teenage-sex-and-death-at-camp-miasma","tag-the-man-i-love-2","tag-top-gun-maverick"],"yoast_head":"\nHollywood Movies Largely Sat Out Cannes This Year. 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