This year, I was honored to attend the 78th edition of the Cannes Film Festival. It was my first time attending the festival and being in Europe, and it truly was a wonderful experience. The sights, views, and movies were all something to behold and made me grateful that I could be in the presence of great people working in the industry. I saw eight films during the last three days, so here are my brief thoughts on everything I saw on the Croisette, in the order I watched them in.

Sound of Falling

One of the most hyped-up non-English-language movies of the festival, Mascha Schilinski’s Sound of Falling, will likely be on many people’s radar later this year. Unfortunately, I did not enjoy it as much as everyone else at the festival. It was boring, and I had no idea what it wanted to be. It does try to make a valid commentary on childhood trauma across different generations, but it gets convoluted in doing so. It also ended suddenly as I got into the moment and was eager to see where it would go. How this movie tied for the Jury Prize (third place) is beyond me. I would advise avoiding it. (2/5)

The History of Sound

The History of Sound sees Paul Mescal and Josh O’Connor, two actors at the top of their game, collide in a love story driven by folk music. The two are excellent, but the rest of Oliver Hermanus’ film is dull as it tries to mask itself with performances and enticing music moments.. There is a great movie somewhere underneath this movie’s surface, but whether that core can be reached is a stretch to see and may require a second viewing. For now, The History of Sound is a miss for Hermanus. (2.5/5)

Eddington

Eddington is a daring and complex film that challenges viewers to reflect on the societal divisions exacerbated by the pandemic. Its potent performances and atmospheric direction make it a standout entry in Aster's filmography, even if its political messaging occasionally lacks precision. It's the latest example of that and is a compelling film that provokes discussion and introspection about the pandemic, no matter how comforting or discomforting it may be. (4/5)

Resurrection

Bi Gan’s latest epic, Resurrection, is the big movie of the year that people will either love or not get. It’s best to go into it knowing little of the plot other than it falls into the genre of a love letter to cinema. Resurrection sees Gan passionate as ever, as it’s a visual feast. Bookended with a remarkable opening sequence and a final twenty minutes that will stun audiences, Gan should have audiences wrapped around his finger. (4/5)

Sentimental Value

Joachim Trier’s follow-up to his 2021 hit The Worst Person in the World sees him slowly reaching the Western Hemisphere. He’s back with Renate Reinsve and has Stellan Skarsgård on board. But in terms of Hollywood, he recruited American actors Elle Fanning and Cory Michael Smith in supporting roles. The actors make Sentimental Value what it is as we see a father look to reconnect with his adult daughter, but an American actress poses a threat. If Sentimental Value is looking to accomplish anything, it’s being a heavy awards season contender as the leading trio is all wonderful. If there are any flaws, it’s in the pacing, as it tends to drag for much of the movie’s runtime. Nevertheless, be on the lookout for this soon. (3.5/5)

Die, My Love

Lynne Ramsay’s long-awaited return to the silver screen is a bleak slice-of-life film starring Jennifer Lawrence and Robert Pattinson as a lowly couple living in the countryside of Montana. Lawrence performs daringly as she’s in a weird phase of looking to reinvent herself. As a fan of hers, I’m all for it, but I don’t know if others will see it that way. Don’t get me wrong, I want to see Lawrence back in the limelight, but I don't know if this will work for her due to the subject matter of the love. It’s a raw, physical performance, and she can do it. But when the rest of the movie isn’t as consistent as she is, where will the general viewers fall? (3/5)

Honey Don't!

The second film in Ethan Coen’s follow-up lesbian trilogy after last year’s Drive-Away Dolls, to Honey Don’t is another step down for his solo director career. While watching this film, I realized which past Coen brothers projects were helmed mainly by him and which were done by Joel. Margaret Qualley is looking to be his muse as she leads this queer crime comedy, and she owns the screen. She fits the mold of the Coen aesthetic, and is far from the most significant issue I had with Honey Don’t. The writing is the suspect here as Coen co-wrote this with his wife Tricia Cooke, and it leaves audiences unamused with lamely written characters. The only good thing to come out of the script is the humor. Still, even that didn’t do much to save. He wastes a stacked cast of Aubrey Plaza, Charlie Day, Chris Evans, and Talia Ryder with ho-hum character development, making the previously mentioned typecast. If there’s anything Ethan Coen should take away from Honey Don’t, it’s that he needs to reunite with Joel. (3/5)

The Phoenician Scheme

Wes Anderson's The Phoenician Scheme sees the director at a crossroads. His style is unique and can't be replicated, no matter how much people try. However, the relationship between Asteroid City and The French Dispatch has become stale in the past few years. Luckily, moviegoers and Wes heads can put this fear to rest as The Phoenician Scheme is a bold, genre-blending espionage comedy that both honors and subverts his signature style. For a while now, Anderson has been making the narrative approach of having a story within a story. And while it worked at first, it slowly got boring. Have no fear, as The Phoenician Scheme reverts to that and gives a direct plot that feels like a breath of fresh air for viewers like me. (4/5)