Cannes 2025- cinematographers perspective!

Cannes Film Festival 2025: Highlights and Must-Watch Films in Competition and Un Certain Regard

The 78th Cannes Film Festival, running from May 13 to 24, 2025, has kicked off with a vibrant celebration of global cinema, showcasing a dynamic lineup of films that promise to captivate audiences and spark discourse. Under the stewardship of festival director Thierry Fremaux and president Iris Knobloch, this year’s edition blends veteran auteurs, bold newcomers, and urgent narratives, reinforcing Cannes’ status as the epicenter of cinematic prestige. With French actress Juliette Binoche presiding over the main competition jury, which includes luminaries like Halle Berry and Jeremy Strong, the festival is poised to deliver unforgettable moments. Below, we dive into the highlights, key films in the Official Competition, and the innovative voices in Un Certain Regard, tailored for cinematographers and cinephiles eager to explore the artistry behind this year’s selections.

Festival Highlights: A Cinematic Spectacle

The 2025 Cannes Film Festival opened with a historic milestone: Partir un Jour, a bittersweet musical comedy by first-time director Amélie Bonnin, marking the first debut feature to open the festival. Starring French singer-actress Juliette Armanet, the film sets a crowd-pleasing tone, blending emotional depth with visual flair. The opening ceremony, hosted by French actor Laurent Lafitte, honored Robert De Niro with the Honorary Palme d’Or, celebrating his monumental contributions to cinema. The festival’s double poster, featuring Anouk Aimée and Jean-Louis Trintignant from Claude Lelouch’s 1966 Palme d’Or winner A Man and a Woman, pays homage to cinematic romance and legacy, designed by Hartland Villa.

Cannes 2025 reflects a world in flux, with a diverse selection addressing global issues. The festival made headlines with its response to the tragic death of Palestinian photojournalist Fatima Hassouna, a subject of Sepideh Farsi’s ACID documentary Put Your Soul on Your Hand and Walk, killed in an Israeli airstrike in Gaza. The festival issued a statement condemning the violence, underscoring its commitment to amplifying voices from conflict zones. Additionally, three documentaries about the war in Ukraine, screened in collaboration with France Télévisions and Brut, highlight Cannes’ engagement with pressing geopolitical narratives.

For cinematographers, the festival’s second annual Immersive Competition is a standout, featuring nine immersive works that explore virtual reality, virtual production, and collective storytelling. These projects, alongside seven non-competitive exhibitions, offer a glimpse into the future of visual storytelling, pushing the boundaries of how narratives are crafted and experienced.

In Competition: A Battle for the Palme d’Or

The Official Competition features 22 films, blending established auteurs with fresh voices, with six female directors—a notable step toward gender parity. The jury, led by Binoche, will award the Palme d’Or on May 24, and the lineup is stacked with visually ambitious projects that promise to inspire cinematographers. Here are some highlights:

– Eddington (Dir. Ari Aster, USA)
Aster, known for Hereditary and Midsommar, makes his Cannes debut with a dark comedy Western shot by Darius Khondji. Starring Joaquin Phoenix as a New Mexico sheriff clashing with Pedro Pascal’s mayor during a pandemic-era power struggle, the film’s chaotic teaser hints at bold, paranoia-fueled visuals. Expect Khondji’s signature high-contrast lighting and dynamic compositions to elevate Aster’s genre-blending vision.

– The Phoenician Scheme (Dir. Wes Anderson, Germany/USA)
Anderson’s latest, co-produced in Germany, is a star-studded romp featuring Benicio Del Toro, Bill Murray, and Scarlett Johansson. Known for his meticulous framing and vibrant color palettes, Anderson’s visual style—likely captured by cinematographer Robert Yeoman—will offer a masterclass in symmetrical compositions and narrative-driven mise-en-scène.

– Die, My Love (Dir. Lynne Ramsay, UK/USA)
A late addition to the lineup, Ramsay’s adaptation of Ariana Harwicz’s novel is a psychological horror-thriller set in Montana, starring Jennifer Lawrence as a mother battling postpartum psychosis and Robert Pattinson as her husband. Produced by Martin Scorsese, the film promises Ramsay’s visceral, intimate style, with cinematographer Christopher Blauvelt (known for First Cow) likely delivering haunting, textured imagery.

– Alpha (Dir. Julia Ducournau, France/Belgium)
Following her Palme d’Or-winning Titane, Ducournau returns with a psychological thriller. Distributed by Neon, which has backed the last five Palme winners, Alpha is expected to feature her signature visceral aesthetics, with cinematographer Ruben Impens crafting bold, immersive visuals that blur the line between beauty and horror.

– The Mastermind(Dir. Kelly Reichardt, USA)
Reichardt’s crime drama, starring Josh O’Connor as an aspiring art thief alongside Alana Haim and John Magaro, shifts from her usual contemplative studies to a slicker narrative. Cinematographer Christopher Blauvelt, a frequent collaborator, is likely to blend Reichardt’s minimalist precision with dynamic heist sequences, offering a fresh perspective on her visual language.

– Nouvelle Vague (Dir. Richard Linklater, USA)
Linklater’s French-language comedy about the making of Jean-Luc Godard’s  Breathless stars Zooey Deutch and is shot in black-and-white with a 4:3 aspect ratio. Cinematographer Shane F. Kelly’s work will likely pay homage to the French New Wave’s raw, kinetic energy, making this a love letter to cinema’s visual history.

– Sound of Falling (Dir. Mascha Schilinski, Germany)
Schilinski’s Competition debut explores four girls across four decades, connected by a rural farm. Her background in documentary promises a naturalistic approach, with cinematography likely emphasizing tactile, generational textures. This film is a sleeper hit for visual storytellers.

– Young Mothers (Dir. Jean-Pierre & Luc Dardenne, Belgium)
The Dardenne brothers, two-time Palme winners, return with a social realist drama. Known for their handheld, naturalistic style, their collaboration with cinematographer Benoit Dervaux will likely deliver raw, immersive visuals that capture the emotional weight of their characters’ lives.

– Resurrection (Dir. Bi Gan, China)
Bi Gan’s sci-fi detective tale, with a score by M83, follows a woman slipping into an eternal time zone. Known for his 59-minute single-take in Long Day’s Journey Into Night, Bi’s collaboration with cinematographer Dong Jinsong will likely feature mesmerizing, dreamlike visuals, making this a must-watch for cinematographers.

Other notable entries include Joachim Trier’s Sentimental Value, a family drama with Renate Reinsve and Elle Fanning; Carla Simón’s Romería, a Spanish coming-of-age story; and Oliver Hermanus’ .The History of Sound, a gay WWI romance starring Josh O’Connor and Paul Mescal. Each promises distinct visual approaches, from Trier’s intimate character studies to Simón’s vibrant landscapes.

Un Certain Regard: Rising Stars and Bold Visions

Un Certain Regard, dedicated to innovative and offbeat works, features a compelling slate of films, including directorial debuts and international stories. This section is a goldmine for cinematographers seeking fresh visual perspectives. Key films include:

– The Chronology of Water (Dir. Kristen Stewart, USA)
Stewart’s directorial debut adapts Lidia Yuknavitch’s memoir, starring Imogen Poots as a woman finding solace in swimming and writing. Stewart’s actorly sensibility, paired with cinematographer Isabelle Link-Levy, promises raw, emotional visuals that balance rage and resilience. The supporting cast, including Thora Birch and Earl Cave, adds intrigue.

– Eleanor the Great (Dir. Scarlett Johansson, USA)
Johansson’s directorial debut stars June Squibb as a retiree relocating to New York. With cinematographer Matthew Libatique (A Star Is Born), expect warm, character-driven visuals reminiscent of classic indies like Moonstruck. This film’s Cannes launch marks the start of a splashy rollout.

– A Pale View of Hills (Dir. Kei Ishikawa, Japan)
Adapting Kazuo Ishiguro’s debut novel, this film follows a widow and her daughter post-Nagasaki bombing. Starring Hirose Suzu and Nikaido Fumi, Ishikawa’s collaboration with cinematographer Ryuto Kondo will likely deliver delicate, evocative imagery, capturing the story’s haunting emotional landscape.

– My Father’s Shadow (Dir. Tope Oshin, Nigeria)
Thought to be the first Nigerian film in Cannes’ Official Selection, this drama stars Ṣọpẹ́ Dìrísù as a father navigating post-1993 election turmoil in Lagos. Cinematographer Idowu Adedapo’s work will likely emphasize the gritty, vibrant textures of urban Nigeria, making this a visual standout.

– Ciel Promis (Promised Sky) (Dir. Erige Sehiri, Tunisia/France)
Opening Un Certain Regard, Sehiri’s follow-up to Under the Fig Trees follows an Ivorian pastor and former journalist. Cinematographer Frida Marzouk’s naturalistic style will likely capture the film’s cultural and spiritual nuances, offering a rich tapestry for visual storytellers.

– I Only Rest in the Storm (Dir. Pedro Pinho, Portugal)
This three-and-a-half-hour drama tackles colonialism and white saviorism. Pinho’s bold narrative structure, paired with cinematographer Vasco Viana’s immersive approach, promises a visually expansive exploration of complex themes.

– Urchin (Dir. Harris Dickinson, UK)
Dickinson’s directorial debut, set on London’s streets, showcases his writing and directing talents. With cinematographer Erik Wilson (Paddington 2), expect gritty, kinetic visuals that capture the raw energy of urban life.

Cinematographic Takeaways

For cinematographers, Cannes 2025 is a treasure trove of inspiration. The Competition lineup showcases a range of visual styles, from Wes Anderson’s meticulous symmetry to Bi Gan’s dreamlike long takes, offering lessons in balancing narrative and aesthetics. Un Certain Regard’s emphasis on emerging voices highlights innovative approaches to lighting, framing, and texture, particularly in films like My Father’s Shadow and A Pale View of Hills, The Immersive Competition further pushes the envelope, inviting cinematographers to explore new technologies and storytelling formats.

As the festival unfolds, keep an eye on how these films leverage cinematography to amplify their stories. Whether it’s Khondji’s bold contrasts in Eddington or Blauvelt’s intimate textures in Die, My Love, Cannes 2025 is a masterclass in the art of visual storytelling. Stay tuned for updates on winners, red-carpet moments, and the films that will shape the awards season—and the future of cinema.

SICA is always proud of its member Santosh Sivan ASC ISC been honored at Cannes a rare feet

Drafted by

CJ Rajkumar

Author/ Cinematographer