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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

Continuing his report from Cannes, Peter Paul Huth discusses three highlights of the festival—or at least films that were expected to be highlights: “Sheep in the Box” by Hirokazu Kore-eda, “El ser querido” by Rodrigo Sorogoyen, and “Paper Tiger” by James Gray.
When festival director Thierry Frémaux was criticized at the press conference for the fact that only four female directors were represented in the competition, he rightly pointed to the numerous films featuring female protagonists. These include, among others, “La vie d'une femme” by Charline Bourgeois-Tocquet, ‘Soudain’ by Ryusuke Hamaguchi, and “Nagi Notes” by Koji Fukada.
Two prominent directors have ventured into a foreign culture with their new films; one attempt went awry, while the other was a success. Peter Paul Huth on “Fatherland” by Paweł Pawlikowski and “Histoires parallèles” by Asghar Farhadi.
The Cannes Film Festival is rightly regarded as a bastion of sophisticated film culture, yet on the Côte d’Azur there is a relaxed attitude towards American blockbusters. Long-time attendees will recall how George Lucas led a troop of galactic warriors down the red carpet.. Opening report by Peter Paul Huth

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