Can Neon extend one of the most unprecedented streaks in movies?
That’s one of the big questions heading into the presentation of the Palme d’Or on Saturday at the Cannes Film Festival. The past five winners in Cannes have all been released by the indie distributor, including last year’s victor and eventual best-picture Oscar winner, “Anora.”
On Saturday, Neon could make it six in a row, adding to its Palmes for “Parasite,” “Titane,” “Triangle of Sadness,” “Anatomy of a Fall” and “Anora.” As far-fetched as that might sound, it might even be likely.
Four of the most widely acclaimed film of the festival — Joachim Trier’s family drama “Sentimental Value,” Jafar Panahi’s revenge thriller “It Was Just an Accident,” Kleber Mendonça Filho’s political thriller “The Secret Agent” and Óliver Laxe’s desert road trip “Sirât” — will be distributed in the U.S. by Neon.
No one knows which way the nine-member jury headed by Juliette Binoche might vote. Their deliberations are done privately, and there are several other films seen as contenders. But critical reception is often a decent guide to what’s in the mix at Cannes.
Other films will strong support include Ukrainian filmmaker Sergei Logznitsa’s period drama “Two Prosecutors”; Richard Linklater’s New Wave ode “Nouvelle Vague”; and Spanish filmmaker Carla Simón’s personal coastal tale “Romeria.”
Saturday’s ceremony brings to a close a 78th Cannes Film Festival where geopolitics cast a long shadow, both on screen and off. Shortly before the French Riviera extravaganza, which is also the world’s largest movie market, U.S. President Donald Trump floated the idea of a 100% tariff on movies made overseas.
Most filmmakers responded with a shrug, calling the plan illogical. “Can you hold up the movie in customs? It doesn’t ship that way,” said Wes Anderson, who premiered his latest, “The Phoenician Scheme” at the festival.
That was one of the top American films in Cannes, along with Spike Lee’s “Highest 2 Lowest,” the Christopher McQuarrie-Tom Cruise actioner “Mission: Impossible — Final Reckoning” and Ari Aster’s “Eddington.”
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Jake Coyle has covered the Cannes Film Festival since 2012. He’s seen approximately 40 films at this year’s festival and reporting on what stands out.
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For more coverage of the 2025 Cannes Film Festival, visit: https://apnews.com/hub/cannes-film-festival
