The 2026 Cannes Film Festival proved somewhat more subdued than in previous years: this time, there was a lack of high-profile Hollywood premieres, among the works of renowned directors were mediocre films, and some movies left more questions than answers. Nevertheless, there are films worth discussing further. The five best films of the festival are in the selection below.
“The Fjord”
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This year’s most striking film in Cannes is a cold and uncompromising thriller by Romanian director Cristian Mungiu. At the heart of “The Fjord” is a couple: Romanian Mihai Georgiu (Sebastian Stan in an incredible transformation) and his Norwegian wife Lisbet (the ever-brilliant Renate Reinsve), who, along with their five children, move to the remote fjords of Norway.
The idyllic picture of their new life gradually takes on a disturbing hue. The local community, initially welcoming the family warmly, begins to view their deep religiosity with suspicion. When the eldest daughter, Elia (Vanessa Cheban), arrives at school with strange bruises, hasty conclusions trigger a chain of events, resulting in all five children being removed from their parents in accordance with strict Norwegian child protection laws.
There are no clear heroes or villains in the fight to regain custody. Mungiu meticulously explores the inner world of the Georgiu family, especially Mihai—a stern father whose authoritarian parenting style is unlikely to change. It is a film filled with striking visuals, subtly moving performances, and complex questions about migration, child-rearing, progressive values, and cultural differences. It’s no surprise that “The Fjord” ultimately won the Grand Prix at the Cannes Film Festival.
“Club Kid”
Films that leave you smiling as you exit the theater are not what Cannes is typically known for. This is precisely why “Club Kid,” Jordan Firstman’s feature debut, became a true festival discovery and captivated the Croisette.
The director, screenwriter, and lead actor, known for projects like “I Love LA” and “Rotting in the Sun,” has crafted a surprisingly warm story set against the backdrop of modern-day New York City nightlife. The protagonist, Peter, is a dedicated party-goer who has long lost himself amidst the endless parties, drugs, and casual encounters that accompany his job as an organizer of a popular club event. His chaotic life takes a sharp turn with the arrival of Arlo (Reggie Absolom), a ten-year-old British boy who turns out to be a son Peter never knew existed. Forced to spend time together, they form a surprisingly hilarious duo: Peter awkwardly navigates fatherhood, while Arlo enthusiastically dives into his dad’s wild world.
Outrageous humor blends with sincerity here, sometimes bordering on excessive sentimentality, yet the ending is so delicate and moving that it’s nearly impossible to remain indifferent. After a fierce bidding war, the film was acquired by A24, and it’s hard to imagine a film more fitting for their aesthetic. When the movie is widely released, it will undoubtedly be a success.
“Full Phil”
“Full Phil” is a wild, bizarre, and incredibly absurd hybrid of “Emily in Paris” and “The White Lotus.” Quentin Dupieux’s 78-minute cinematic nightmare won’t appeal to everyone, but it deserves attention.
Kristen Stewart, with visible enjoyment, spends her entire screen time devouring literally everything edible that comes into her view. She plays Madeline, an irritable woman in her early thirties, the daughter of Phil, a character played by Woody Harrelson. He brings her to Paris hoping to mend their relationship, but numerous circumstances get in the way: from Madeline’s eccentric habits to an overly intrusive hotel employee (Charlotte Le Bon) who might be in love with her. And another detail: the more Madeline eats, the faster her father’s belly grows.
Every scene here is a true celebration of absurdity: riots break out in the city, dinner turns into a gastronomic trial, and a spontaneous party gets out of control. Some scenes will make you laugh until you cry.
“The Boy from Congo”
This visually stunning and musical story about a teenage refugee from Congo named Robert is a true gem of the festival. The main role is played by the charismatic Bradley Fiémona, who, incredibly, was discovered during a street casting.
The events of “The Boy from Congo” unfold in Bangui, the politically unstable capital of the Central African Republic, exhausted by civil war and located near the hero’s homeland. Every day, Robert tries to free his unjustly imprisoned parents and cares for his younger siblings. At night, he transforms into a passionate music lover and amateur singer: he visits clubs, occasionally takes the stage, and dreams of a great musical future.
In this intense epic story, the sounds of gunfire intertwine with pulsating rhythms, and moments of mortal fear give way to explosions of genuine euphoria. Like many debut works, the film sometimes tends to over-explain and simplify certain plot lines. At the same time, director Rafiki Farial, who is only 28 years old and makes an incredibly confident feature film debut here, brilliantly balances different tones, subtly conveying the contradictions of a young, ambitious person’s life in a country undergoing upheaval. The result is a life-affirming, energetic film that makes you want to dance on your way out of the cinema.
“Teenage Sex and Death at Camp Miasma”
“Teenage Sex and Death at Camp Miasma” is a vibrant film that reinterprets horror, female sexuality, and the very nature of desire. The main protagonist of the film is 29-year-old Chris (the wonderful Hannah Einbinder), an ambitious queer director who suddenly receives a professional offer she could only dream of. “Camp Miasma” was once a popular slasher franchise, consisting of a series of low-budget, lewd films about Mr. Little Death, who settled in a river and hunted in a camp where 17-year-old teenagers lost their virginity. Chris, a devoted fan of the show, gets an incredible chance to revive the franchise with her own modernized vision. But there can be no sequel without a “final girl”—a former heartbreaker who, however, left acting and now lives in complete seclusion in the same Camp Miasma. This is where Chris heads at the beginning of the film in search of creative connection. There she meets Billie Presley (the stunning Gillian Anderson). A glamorous blonde with lush curls and seductive attire, she mysteriously invites Chris to dinner at her home. Over evening gatherings by the fireplace, watching the franchise’s films, and eventually, frank conversations about each woman’s sexuality, they build a spiritual and romantic connection. In “Teenage Sex and Death at Camp Miasma,” director Jane Schoenbrun conquers Cannes with a wild psychosexual carnival that delves into complex questions of identity, female pleasure, and the great legacy of horror.