by Alex Billington
June 2, 2026
What are the best films out of this year’s Cannes Film Festival? Which ones should you be taking an interest in? What films should be a priority for you to see? After diving into a fascinating selection of films across 12 days at the 79th Cannes Film Festival, and after watching a grand total of 46 films, it’s time to present my 2026 list of Top 10 Favorites. This was my 16th year back to this prestigious festival in France, and I still love being in the middle of all the buzz and excitement, watching brand new features every single day. As I usually say – there’s always more to discover, so always keep watching. These ten 2026 favorites listed below are the ones that connected with me emotionally or intellectually, and I hope you’ll consider keeping an eye out for them whenever they play on the big screen near you. Each one has something unique to offer in its own riveting way. It might have been another low key year in Cannes overall, with many colleagues complaining about how lackluster it was, though I am always delighted to uncover some amazing films no matter what. This is my final recap of Cannes 2026 – don’t skip a chance to watch any of these terrific films.
My goal at film festivals nowadays is to watch, watch, watch and keep watching as much as possible. I don’t want to miss anything that might be good, and I prefer to get a look at anything just to see what each one is about. The big conversation about the 2026 Cannes Film Festival is that it didn’t have any major Hollywood premiere or anything like that, but I wrote at the beginning and also again at the end about how that really does not matter at all for this fest. They have so many other worthwhile discoveries within the line-up, especially in the side sections like the Critics Week (aka Semaine de la Critique) where I saw a handful of favorites this year. Most importantly – all I’m on the search for at festivals is great films no matter where they come from, no matter how big the budget is, no matter what country made them or which Hollywood studio produced them. Just show me something good! In my final editorial recap of Cannes, I wrote: “There are always going to be real discoveries within the Cannes selection. They’re still the most powerful player in the film festival industry, the reigning champ that finds the best of the best and cherry picks their faves.” I was not happy with this year’s Palme d’Or winner (read this review to understand why) however I’m ecstatic about my Top 10 favorite films below. Others I enjoyed but didn’t make the cut: James Gray’s Paper Tiger, Olivier Clert’s Lucy Lost, Marine Atlan’s La Gradiva, & Abinash Bikram Shah’s Elephants in the Fog.
I won’t delay any further with my Top 10 films of Cannes 2026, as these are the films that I loved the most, or left the greatest impact on me, and they all deserve to gain recognition outside of France. My favorites:
All of a Sudden – Directed by Ryūsuke Hamaguchi
Nothing else at Cannes this year hit me has hard as this film. All 3 hour & 16 minutes of it! I hereby declare Ryūsuke Hamaguchi’s All of a Sudden a modern masterpiece. It is perfect from start to finish – with one of the most profoundly touching hugs ever in cinema history, and a genuinely soul-stirring depiction of what caring for human beings with real humanity actually means, plus a cast of phenomenal performances. The film’s co-stars Virginie Efira & Tao Okamoto unquestionably deserve the Best Actress awards they received in Cannes this year, but they also deserve the Palme d’Or. If it was up to me, I would’ve given this film the Palme in a heartbeat, there is nothing more to even consider. A monumentally extraordinary work of art that shows us how we actually can use art to make the world better. What I adore the most about it, is instead of the film itself claiming that it is the work of art that can change the world, the film is instead full of portrayals of the kind of unforgettable performance art that might change the world. Hamaguchi’s love for theater & natural performances is what grounds this film in its touching, soulful look at how connection is the basis of human progress. This became an instant personal all-time favorite film even beyond Cannes.
Minotaur – Directed by Andrey Zvyagintsev
My other Palme d’Or winner from 2026. It should’ve been this film or All of a Sudden. It seems the jury was about to award Minotaur the top prize but went with Fjord instead. Minotaur is also a monumental work of art that goes beyond just a story about a family. There is depth in every frame. Andrey Zvyagintsev has reached the same levels as Kubrick and Tarkovsky in his framing, in crafting each shot ever so meticulously utilizing visual language so perfectly in every pan, every glance, every detail in every scene. This is not really just a story about a wealthy Russian oligarch (the CEO of a transport company) and what happens when he discovers his wife is having an affair. It’s also not just a story about Russia’s brutal war on Ukraine and the propaganda and copious lies they’re constantly feeding the Russian people. It goes above and beyond these two narratives as a masterful commentary on all of the rottenness in the world right now, the things people do to not lose their wealth and power, to not let their family fall apart, how they cover up their tracks, how they escape any consequences or punishment. It’s so cold and haunting to watch, yet brilliant in every sense.
Flesh and Fuel – Directed by Pierre le Gall
Étienne and Bartosz! The sweetest, most adorable couple at Cannes this year. They’re the best. It’s always a joy to encounter unashamedly sincere films that are so emotionally uplifting in their depiction of pure love and pure human connection. Considering there have been many superb LGBTQ romance films at the Cannes Film Festival over the years, including Pillion and Portrait of the Lady on the Fire and Carol, I’m delighted that this one joins the ranks as another exceptional gay romance worth discovering. There’s an amazing scene when the two truckers are driving over a bridge together hoping they’ll cross the top at the right time and it’s so joyful I wanted to cheer. Their story made me mushy, it’s the kind of beautiful love we need to see more of on screen. And it never dips into any dangerous, cynical, or upsetting territory either. The only real worry is if they can figure out how to align their lives together while on the road and make sure that fiery petrol-fueled passion keeps burning bright. Bravo, Alexis Manenti and Julian Swiezewski as Étienne and Bartosz! And congrats writer / director Pierre le Gall on crafting such an unforgettable romantic film.
Coward – Directed by Lukas Dhont
The other most romantic couple at Cannes! The wonderfully talented Lukas Dhont joins the “tenderness is the new punk” trend from Joachim Trier last year by creating this very tender, lovely film set during the hell of The Great War (World War I) in Europe. It’s also a love story, following two Belgian soldiers who end up falling in love while on the front lines. I admire so much about Dhont as a filmmaker and his storytelling, and his visual eye, along with his emotional eye, the way he puts so much heart into all of his films. So much love. Valentin Campagne is absolutely transcendent in this film as Francis, his performance here is one for the ages. I felt so much for him, I could sense every emotion in him. Newcomer Emmanuel Macchia as Pierre is also quite good. Most touching of all is watching the two of them build their love across the war and across time – reconnecting in a finale that will leave everyone watching wiping away tears. Another enchanting film by Dhont featuring all of his earmarks – stunning cinematography, a wonderful score, and such superb performances by the cast. Gay cinema reigns at Cannes 2026! And this is one of the highlights.
Club Kid – Directed by Jordan Firstman
This might be THE biggest breakout of Cannes this year. Destined to become a major box office hit as well. It’s the film that EVERYONE loved. And I mean everyone at Cannes this year; every other critic and every single person who watched it has been saying how much they loved it. It’s a complete charmer, a knock your socks off debut starring the same person who also wrote and directed it. Club Kid really hits the sweet spot. It’s a totally adorable and funny and uplifting tale of growing up –no matter how long it takes for that to finally happen. Infused with an authenticity and honesty that few films ever capture so effortlessly. Jordan Firstman wrote and directed and stars in this film and, whether or not it’s an accurate version of his own personal story doesn’t really matter, it’s just a damn good film that is moving in its earnestness. It left me feeling so emotionally happy because not only is the film itself terrific but it’s once again a potent reminder that as flawed as we all are, we’re all capable of loving & being loved. And love really can move mountains.
La Bola Negra – Directed by Javier Ambrossi & Javier Calvo
Wow. This was a late in the festival surprise for everyone. An especially epic cinematic experience, boasting grand storytelling with an unforgettable score. I was swept away! In awe from start to finish! Even if I agree it is a tad too long, and the 3 stories start to spiral in the middle, it’s profound nonetheless. Monumental, majestic, powerful Spanish filmmaking featuring 3 timelines following multiple gay men throughout history. One of the most Spanish films ever made, exploring the tragedy and grief and lingering trauma of their Civil War and how it’s still present in Spain today. There is so much to admire within these stories and how they intertwine & interact. And the score! My goodness just magnificent & emotional, one of the most fabulous scores you’ll hear in any film this year. Many are going to be talking about this film for years. “The song. The wound on the back. The drop of water running down the face. A perfect cast. And this emotion in my chest.” I am so happy for the two filmmakers Javier Calvo & Javier Ambrossi who deserve all the acclaim and will be returning home celebrated. It’s a must see whenever there is a chance to catch this on the big screen.
A Girl Unknown – Directed by Jing Zou
This underseen indie gem from the Critics Week sidebar stands out for a number of reasons. Mainly that the cinematography is absolutely spectacular – thanks to DP Zhongqiang Liang. Some of the best shots from ANY film at the festival this year– the film should’ve been premiering in Un Certain Regard at the fest it’s that good. Evocative & emotional shots that connect to the mental state of the anguished main character Juan. It’s astonishing how good this film looks. It’s a tragic film but there’s some hope in it. Tamara’s review here really explains it perfectly: “The sheer beauty of the cinematography acts as a vital counterweight to the oppressive narrative and sadness within. The camera lingers on the glow of streetlamps cutting through the night air, vibrant green fields, a warm breeze catching in hair, and twilight draping over the skyline. It’s as if the director and cinematographer are telling the audience that the protagonist’s capacity for wonder still remains intact, despite her tragic circumstances. Her childhood spontaneity, adolescent curiosity, and the tender milestones of first friendships and early love are vividly articulated through this rich visual tapestry.”
Garance aka Another Day – Directed by Jeanne Herry
The more I think about it, the more I admire this film. Yes it’s much more straightforward & obvious than many of the more complex films at Cannes. But there’s real intellectual power in its poignant storytelling, in how it approaches this story of an alcoholic woman and her troubles, and how she tries and tries to quit but just can’t. The filmmaking & editing choices by director Jeanne Herry are also quite impressive, keeping it moving along with energy and spunk and style spanning years of time following Garance – played by Adèle Exarchopoulos. I prefer the original title Garance because it’s her name, whereas the English alternative Another Day sounds a bit too vague as a reference to the story of a woman whose drinking addiction starts to ruin her life. Best of all, the massively talented Adèle Exarchopoulos is superb in this challenging role, in one of her best big screen performances since Blue is the Warmest Color. She’s expressive and emotional, but also entirely natural, possibly because she’s also playing an actress in the story and she really brings an authentic depth to her nuanced perform. I’m a big fan of this film & happy to include it as one of my faves.
Tangles – Directed by Leah Nelson
This is the best of the animated films premiering at Cannes year (from the selection that I was able to see). Beautifully made, of course, with a vivid B&W style that works well for this particular tragic story. But also emotionally complex, combining not only a story about a mother with Alzheimer’s, but also an LGBTQ story about remaining confident in yourself, expressing yourself clearly, and maintaining a loving relationship in the midst of a chaotic life. It’s a heartbreaking film, for obvious reasons with the mother suffering from the confusion of Alzheimer’s, but it’s also a grateful and inspiring film in the way it shows how to live on and remain passionate and love everyone else despite the many hardships of life itself. The film is so emotionally impactful because the filmmaking is so emotionally honest and open and wholesome, remaining vulnerable while also trying to make the story clever and engaging as it all plays out. The voice cast is also terrific, featuring Abbi Jacobson as the main character Sarah, with Seth Rogen, Julia Louis-Dreyfus, Bryan Cranston, Sarah Silverman, Samira Wiley, and Pamela Adlon. Add this animation to your watchlist.
Everytime – Directed by Sandra Wollner
This is real, profound, bold cinema. It left me totally shaken, boasting a handful of entirely unforgettable shots (you’ll notice them as soon as they hit). Even though I don’t think the ending works at all, everything else before it is so unforgettably mesmerizing. Everytime is the latest film by acclaimed Austrian filmmaker Sandra Wollner, a remarkably vibrant modern take on grief and how it shatters the world around us… Everytime won the main award in the Un Certain Regard section at the 2026 Cannes Film Festival and it’s pretty clear why they gave it that top prize –and this certainly won’t be the only award it gets. I’m also not the only one saying this film should’ve been in the festival’s Main Competition, it’s really that tremendous. Then more people would’ve been able to watch it and start talking about it and discussing everything in the second half because WHOA. This is a serious conversation-starter film – in a good way. Everyone will have something to say about it, some questions to ask, some ideas to consider. What does it all mean?! Which is what truly great cinema can achieve when it’s enchanting and emotionally profound and superbly cinematic.
My favorite performances from the festival are already highlight in the list above: the two actresses in All of a Sudden and the two actors in Coward are just wonderful. They all won awards from the festival and they all deserve them (and much more). A few other films from the festival I want to mention even though they didn’t make the list. I was also impressed by the performances in the Spanish film The Beloved (aka El ser querido), lead by Javier Bardem & Victoria Luengo, however the film itself starts to run out of steam and meanders to a bad ending. Way too many films with bad endings this year – a good ending is not easy to pull off! The other film set in Spain that is quite good is called Strawberries, also known as La Más Dulce in Spanish, about migrant workers on a strawberry farm who decide to confront their problematic boss and take him to court after he crosses a line. The Japanese film All the Lovers in the Night is also quite good, but a bit too slow and the emotions fall apart at the end–still worth a watch anyway. Clio Barnard’s film I See Buildings Fall Like Lightning is superb but not one of my picks. And the animated film In Waves is emotionally strong, and absolutely stunning, but too simplistic to stand out among all the other films this year. I also had a fun time watching the horror comedy Victorian Psycho (read my full review) but it’s far from being a Cannes sensation. I highly recommend catching up with any and all of these films mentioned –the festival is always full of many surprises and good indie films that are worthy of your time & attention.
And that’s it for Cannes 2026, ending our coverage of this film festival. Cristian Mungiu’s film Fjord won the Palme d’Or prize this year, though it was not one of my favorites by a long shot – find the full list of 2026 awards winners here. My coverage wraps up with this list of favorites and all my other reviews from the fest. I’m always looking forward to the Cannes experience + their line-up, one of my favorite fests year after year.
