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Cannes

The Palme d'Or and the Prize of the Ecumenical Jury at the 2026 Cannes Film Festival went to the same film, “Fjord” by Cristian Mungiu. The International Federation of Film Critics (FIPRESCI) also honored the film. The festival jury, chaired by Korean director Park Chan-wook, awarded its Grand Prix to “Minotaur” by Andrey Zvyagintsev (France, Latvia, Germany 2026), the Best Director Award ex aequo to the directing duo Javier Calvo and Javier Ambrossi for their film “La bola negra” (The Black Ball, Spain, France 2025) and to Paweł Pawlikowski for his film “Fatherland” (Poland, Germany, Italy, France 2026). "Das geträumte Abenteuer" (The Dreamed Adventure) by Valeska Grisebach (Germany, France, Bulgaria, Austria 2026) won the Prix du Jury.

The 79th Cannes Film Festival opened on 12 May with the French-Belgian co-production *La Vénus électrique* (The Electric Kiss) by Pierre Salvadori. Set in Paris in 1928, the film tells the story of the relationship between a painter and a fairground performer who claims to be a medium and promises to put him in touch with his late wife. In the International Competition, the festival screened 22 films, including new works by Pedro Almodóvar, Cristian Mungiu, Asghar Farhadi, Andrey Zvyagintsev and Hirokazu Kore-eda.

 

The Cannes Classics section featured, among others, newly restored versions of Bawang bieji (Farewell My Concubine, Hong Kong 1993) by Chen Kaige, Człowiek z żelaza (Man of Iron, Poland 1981) by Andrzej Wajda, L'Innocente (The Innocent, Italy, France 1976), and Sanshiro Sugata, Akira Kurosawa’s cinema debut (Japan 1943). 

At the opening ceremony, New Zealand director Peter Jackson was honoured with a Golden Palm; the same award was presented to Barbra Streisand at the closing ceremony. The Ecumenical Jury awards its prize to a film from the International Competition. It has been presenting its awards since 1974.

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2026

The Ecumenical Jury of the 79th Cannes Film Festival has chosen a film that, above all, stands out for the artistic excellence of its cinematic form in every respect. We believe that the award-winning film serves as a powerful warning against the risks posed by the ideological drift of both the faith and the necessary denunciation of any form of violence against the most vulnerable. Both are hopeful approaches which can become corrupted when, reduced to a mere set of rules, prevent us from seeing the humanity of others—and perhaps our own.

In its exploration of the central conflict between different convictions, the award-winning film not only questions the boundaries between the public and private spheres but does so with great narrative skill, interweaving the individual stories of complex and profound characters. Finally, it should be noted that this is a film that raises many questions and appeals to the viewer’s experience to answer them, thus constituting a rich work of art for debate and reflection.

More about the festival

Die Preisverleihung in Cannes endete mit einer Überraschung. Paweł Pawlikowski mit „Fatherland“ und Ryusuke Hamaguchi mit „Soudain“ waren die Favoriten, die beim Ranking der Kritiker in Führung lagen, dicht gefolgt von Andrej Svjagincev mit „Minotaur“.
Individualists with distinctive styles: Peter Paul Huth reviews the new films by Valeska Grisebach and Cristian Mungiu.
When you look back towards the end of the festival, you are struck by the abundance of queer affairs and relationships on the screen. At the start, there were more lesbian storylines; in the last few days, the focus has been on male protagonists.
New films by Andrej Svjagincev and Pedro Almodóvar in Cannes.
Two films at Cannes focus on figures from the French Resistance during World War II: “Moulin” by László Nemes and “La troisième nuit” by Daniel Auteil. Critical remarks by Peter Paul Huth

Jury

Jury œcuménique
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