The 2026 Cannes Film Festival was somewhat subdued compared to previous years: this time, there was a lack of high-profile Hollywood premieres, mediocre films appeared among the works of renowned authors, and some films left more questions than answers. However, there are films worth discussing further. The five best films of the festival are in the selection below.
“Fjord”
This year’s strongest film in Cannes is a cold and uncompromising thriller by Romanian director Cristian Mungiu. At the heart of “Fjord” is a couple: the Romanian Mihai Georgiou (Sebastian Stan in an incredible transformation) and his Norwegian wife Lisbet (the consistently brilliant Renate Reinsve), who, along with their five children, move to the remote fjords of Norway.
The idyllic picture of a new life gradually becomes unsettling. The local community, which initially warmly welcomed the family, begins to view their deep religiosity with suspicion. When the elder daughter Elia (Vanessa Cheban) comes to school with strange bruises, hasty conclusions trigger a chain of events, resulting in all five children being taken 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 explores the inner world of the Georgiou family with exceptional precision, especially Mihai – a strict father whose authoritarian parenting style is unlikely to change. It is a film filled with powerful imagery, restrainedly moving acting performances, and complex questions about migration, child-rearing, progressive values, and cultural differences. It is not surprising that “Fjord” ultimately won the Palme d’Or at the Cannes Film Festival. Following the 2026 Cannes Film Festival, “Fjord” received the Palme d’Or itself, not the Grand Prix.
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“Club Kid”
Films that leave you smiling as you exit the theater are not typically what Cannes is known for. That’s why “Club Kid,” Jordan Firstman’s feature directorial debut, became a true discovery of the festival and conquered the Croisette.
The director, screenwriter, and lead actor, known for projects like “I Love LA” and “Rotting in the Sun,” has created a surprisingly warm story set against the backdrop of modern-day New York nightlife. The protagonist, Peter, is a dedicated partygoer who has long been lost amidst endless parties, drugs, and casual acquaintances related to his work as an organizer of popular club events. 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 become a surprisingly comical duo: Peter awkwardly navigates the role of a father, while Arlo enthusiastically dives into his dad’s wild world.
Loud humor here is combined with sincerity, which at times borders on excessive sentimentality, yet the ending is so delicate and touching that it’s almost impossible to remain indifferent. After a fierce bidding war for distribution rights, the film was acquired by A24 – and it’s hard to imagine a film that better fits their aesthetic. When the film is released widely, 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 delight, spends almost all her screen time consuming literally everything edible that comes into view. She plays Madeleine, an irritable woman in her early thirties, the daughter of Phil, a character played by Woody Harrelson. He is the one who brings her to Paris in hopes of repairing their relationship, but numerous circumstances stand in the way: from Madeleine’s eccentric habits to an overly intrusive hotel employee (Charlotte Le Bon) who may be in love with her. And one more detail: the more Madeleine eats, the faster her father’s belly grows.
Every episode here is a true celebration of absurdity: riots break out in the city, dinner turns into a gastronomic ordeal, and a spontaneous party gets out of control. And 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 real find of the festival. The main role is played by the charismatic Bradley Fiomon, 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, ravaged by civil war and located near the hero’s homeland. Every day, Robert tries to free his unjustly imprisoned parents and takes care of his younger siblings. At night, he transforms into a passionate music lover and amateur singer: he visits clubs, occasionally performs on stage, and dreams of a grand musical future.
In this tense epic story, the sounds of gunfire intertwine with pulsating rhythms, and moments of mortal fear give way to bursts of pure euphoria. Like many debut works, the film sometimes over-explains and simplifies certain plotlines. At the same time, director Rafiki Faria, who is only 28 years old and makes an exceptionally confident debut in feature filmmaking here, brilliantly balances different tones, subtly conveying the contradictions of a young, ambitious person’s life in a country undergoing turmoil. The result is a life-affirming, energetic film that makes you want to dance on the 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 film’s protagonist is 29-year-old Chris (the wonderful Hannah Einbinder), an ambitious queer filmmaker who suddenly receives a professional offer she could only dream of. “Camp Miasma” is a once-popular slasher franchise consisting of a series of low-budget, lurid films about Mr. Little Death, who settled in a river and hunts in a camp where 17-year-old teenagers lose 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 has since left acting and now lives in complete seclusion at Camp Miasma itself. It is there that Chris heads at the beginning of the film in search of a creative connection. There she meets Billie Presley (the stunning Gillian Anderson). The glamorous blonde with voluminous curls and a seductive outfit mysteriously invites Chris to dinner at her home. Thus, during evening gatherings by the fireplace, watching the franchise’s films, and ultimately, frank conversations about each woman’s sexuality, a spiritual and romantic bond forms between them. 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.