Female Film Critics 24/375
As Garance proves many times over, the life of an alcoholic is a disaster for her family, her friends, and her own life. Knowing the statistics on this disease, there is no question that everyone knows or is part of that unfortunate group. As a case in point, French writer/director Jeanne Herry’s Garance/Another Day presents a prime example of a temporarily, moderately functioning alcoholic.
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An exploration of a hopelessly intertwined rural community, writer/director Valeska Grisebach’s The Dreamed Adventure/Das Geträumte Abenteur explains little, yet reveals volumes. In early scenes, Saïd drives to the Bulgarian town Svilengrad to pursue a business venture, securing diesel from a dodgy local. After his 1990s car is stolen, Saïd accidentally and fortuitously encounters his old friend Veska. She manages an archeological site in Matochina, but what will more disconcertingly be excavated over the film’s almost three hours is the sordid history and current legacy of the area. Digging up the past takes care and patience, which Veska possesses in abundance.
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Writer/director Charline Bourgeois-Tacquet’s A Woman’s Life vibrantly explores the life of 55-year-old maxillofacial surgeon Gabrielle (a magnificent Léa Drucker) as she copes resourcefully with a rewarding, outstanding professional life. In contrast, her personal relationships inhabit a more tumultuous, complex realm. A Woman’s Life presents a refreshing, unusual portrayal of exactly what its title signifies.
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Following an introspective, searching Yuri on her return from Taiwan to small town life in mountainous, rural Nagi from Taiwan, writer/director Koji Fukada presents an understated, engaging exploration of a community through the two women at its center. Recently divorced, architect Yuri (Shizuka Ishibashi) reestablishes her close, restrained relationship to her now ex-sister-in-law Yoriko (Takako Matsu). A sculptor of human-size blocks of wood that she will chainsaw and shape into recognizable human likenesses, Yoriko takes Yuri on as a model, ensuring hours of time together.
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There’s always a sense of Christmas morning excitement when Cannes Film Festival chief Thierry Frémaux unveils the festival’s lineup. The 79th edition of the festival feels especially electric, blending new discoveries with an auteur-driven selection. This year’s lineup includes works by Pedro Almodóvar, Pawel Pawlikowski, Ira Sachs, Asghar Farhadi, and new films from previous Palme d’Or winners Cristian Mungiu and Hirokazu Kore-eda. The 2026 festival leans heavily on international cinema. There are no blockbusters on the slate but the program showcases a fascinating mix of genres, including musicals, sci-fi, and horror. Out of the 22 films announced so far in competition, five are directed by women. 24% of the lineup, a slight dip from last year. However, in the Un Certain Regard section, more than half (8 out of 11 films) are directed by women.
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The Iranian title alone, It Was Just an Accident, suggests that dire consequences will surely follow in the wake of an innocent incident. That writer/director Jafar Panahi included details of the brutal treatment he learned about from prisoners during his own detention in Iranian prisons means the film’s impact is as frightening as it is real. As Panahi said at his Cannes Film Festival press conference, “It’s the Islamic Republic of Iran that made this film.” He added that he listened to many stories of inhumane treatment. Once on the set shooting, Panahi ensured authenticity with other ex-prisoners on hand for corroboration.
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Coralie Fargeat is one of the most daring, exciting and innovative filmmakers working in the horror space today. Going back to the launch of the 5050×2020 campaign at the Cannes Film Festival in 2016 that called for a then-goal of gender parity in the screen industries by 2020, Fargeat has long been actively involved in amplifying the role of women in film. She makes remarkable, zeitgeist-defining movies.
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This year, the Cannes Film Festival spotlighted a rich diversity within its Official Selection Jury, including prominent women like Oscar nominee Lily Gladstone (Killers of the Flower Moon) and the Jury President, Oscar-winning director Greta Gerwig (Barbie). The festival celebrated the achievements of many female filmmakers and actresses, who not only appeared on screens in the South of France but also took home prestigious awards. The festival was a powerful celebration of women’s contributions to cinema, setting a high standard for future events.
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Following a year in which she beat most every box-office record with her film Barbie, American director, screenwriter and actor Greta Gerwig will preside over the feature film competition jury at the 2024 Cannes Film Festival.The 77th Festival de Cannes will take place from May 14-25 in France. In less than 15 years, Gerwig has gained recognition in American and worldwide cinema. Originally from Sacramento, California, but a New Yorker by adoption, she dreamed of being a playwright but has crafted her own path in film.
Read moreFrench New Wave Director Agnès Varda is the first female filmmaker to receive the Cannes Film Festival’s coveted Palme d’Or
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