As the 77th Cannes Film Festival draws to a close, DirectHer wants to reflect on some of the greatest films directed by women to grace the festival over the years, including the three that have received the coveted top prize, the Palme d’Or.
Cannes is the most prestigious film festival in the world. It manages to draw in the eyes of the general public, and thus, the festival’s ability to spotlight the talent of female directors across the world cannot be overstated. Here are some of the best films by women to play and win at the festival.
Anatomy of a Fall (2023, Justine Triet)
Was he pushed, or did she do it? That’s the central question of last year’s Palm d’Or winner. Anatomy of a Fall is a legal drama where the main character Sandra (Sandra Hüller) stands accused of having pushed her husband out a window, and the impact this has on the relationship with her son as the trial goes on.
Justine Triet directs the film with precision and appreciation of marital strife and the expectations and prejudice towards women, particularly bisexual women. Over the course of its 152-minute runtime, the film manages to keep the audience enthralled and never loses focus. It’s an entertaining film, with a cast of colourful characters who bring charisma and tension to the film.
Everyone will walk away with a different opinion on Sandra’s guilt or innocence, thanks to the exceptional performance by Hüller and the Oscar-winning screenplay, which will provoke conversation for years to come.
Titane (2021, Julia Ducournau)
An erotic nightmare of a film that will leave you equally thrilled and disgusted by the imagery on display – Titane is a true example of French extremity that tops Julia Ducorunau’s previous work, Raw, both in perversion and quality.
A showgirl, Alexia (Agathe Rousselle), with a large scar and titanium plate on her head, is a serial killer who has sex with her car. She becomes entwined with fire captain Vincent (Vincent Lindon), after her murders catch up to her, and poses as his missing son. From there, the film spirals and is an amazing horror film that will leave you perplexed and in awe.
It cannot be overstated how bizarre and amazing it is that a film as shocking and violent as this won a major award like the Palme d’Or. If you know anyone who is under the impression that art films or non-English-language films are boring and slow, then show them Titane. They may not like it, but they would be hard-pressed to claim it isn’t captivating or fast-paced.
The Piano (1993, Jane Campion)
The first female-directed film to win the coveted Palme d’Or, The Piano is a New Zealand set period drama. On its face, it seems like a typical stately film, but beneath it, Campion’s penchant for transgressive sexual dynamics plays out.
Ada (Holly Hunter), a mute woman, along with her daughter Flora (Anna Paquin), is sold into marriage with a frontiersman (Sam Neill). Upon arriving on the beach, her beloved piano is left abandoned and given to retired sailor George (Harvey Keitel). Ada enters an arrangement with him to reclaim her piano for lessons, which quickly turns into a sexual relationship.
Hunter’s performance is one of the greatest to grace the screen. She won Best Actress at Cannes and the Oscars, and it’s not hard to see why.
The Wonders (2014, Alice Rohrwacher)
From La Chimera director Alice Rohrwarcher comes this family drama won the runner-up prize, the Grand Prix, at Cannes 2014.
The film follows a family that earns income from their apiary. The eldest daughter, Gelsomina (Maria Alexandra Lungu), enters the family into a reality competition without their knowledge out of curiosity and to help the family earn more money.
As with her other films, The Wonders is a great subtle film that conveys information to the audience in a manner that does not disrupt the story whilst still having a socioeconomic awareness in its themes.
The Mourning Forest (2007, Naomi Kawase)
Also winning the Grand Prix at the 2007 edition of the festival, Naomi Kawase’s The Mourning Forest is an intimate and peaceful drama about a woman, Machiko (Machiko Ono), working in a care home after the death of her child.
She forms a bond with an elderly man (Shigeki Uda) suffering from dementia and searches the local forest for unexplained reasons.
The film is quietly devastating but remains a pleasure to watch, thanks to the lush cinematography and Kawase’s ability to capture the environment.
Atlantics (2019, Mati Diop)
Mati Diop’s debut feature made history in 2019 when it was chosen to compete in the main competition at Cannes. She became the first black woman to have a film in the main competition, a sad stat but one that help brought attention to this worthy film and its director.
The film is a romantic drama with a supernatural twist that deals with the refugee crisis and class struggles in Senegal.
The film follows Ada (Mame Bineta Sane), a woman set to be married but with an attachment to another man, Souleiman (Ibrahima Traore), who mysteriously dies in an arson attack before her wedding.
This is a film well worth watching, and not just for its historical place in the history of Cannes.
You Were Never Really Here (2017, Lynne Ramsay)
This brutal revenge drama won Best Actor and Best Screenplay for Ramsay at Cannes 2017, which is impressive considering it screened in an unfinished state.
Joe (Joaquin Phoenix) is a veteran suffering from PTSD and familial trauma who is hired to track down a Senator’s daughter who has been abducted into a sex trafficking ring.
What unfolds from there is a cerebral take on a hitman film, with violent sequences scored by Radiohead’s Jonny Greenwood playing out and offset with Joe dealing with his trauma.
It’s a compact film, under 90 minutes, but it will stay with you long after you watch it.
