Cannes: "La Bola Negra (The Black Ball)"

by Elisa Giudici

The cast of LA BOLA NEGRA

By now, the Los Javis hardly need introduction at Cannes. Javier Calvo and Javier Ambrossi, who just tied Pawel Pawlikowski to win Best Director at the Cannes closing ceremony, have spent the last decade becoming not just successful filmmakers and showrunners, but cultural architects for a new generation of Spanish storytelling: proudly queer, emotionally maximalist, deeply rooted in national history while fully conversant in pop melodrama and contemporary television language. If Veneno made them unavoidable and La Mesías confirmed their creative ambition, La Bola Negra (The Black Ball) arrives as the film where they attempt to canonize themselves.

The scale alone announces the shift. Produced under the banner of El Deseo (the Almodóvar brothers’ company, also in Competition this year with Pedro’s latest) La Bola Negra carries the unmistakable aura of succession mythology around it. Not a rejection of the Almodóvar lineage so much as a generational mutation of it...

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Cannes 'Jury of One' and Predictions

by Elisa Giudici

LA BOLA NEGRA

There’s a strange atmosphere lingering over Cannes this year: not scandal, not outrage, not even division exactly. More like collective hesitation. A sense that everyone liked several films, respected many more, but truly loved very few. The consensus around the Croisette is unusually blunt: Competition was quite weak, only occasionally excellent, and rarely exhilarating. In a year where Hollywood increasingly seems willing to bypass festivals altogether for its prestige launches (Sinners, Marty Supreme, One Battle After Another all cultivated awards ambitions without Cannes or Venice), the festival perhaps needed a genuine cinematic event more than usual. Instead, 2026 mostly offered strong craftsmanship without many discoveries. The real surprises often came outside Competition.

That doesn’t mean the lineup failed. The major auteurs mostly delivered exactly what one expects from them: polished, controlled, intelligent work. Cristian Mungiu’s Fjord, Pawel Pawlikowski’s Fatherland, and Andrey Zvyagintsev’s Minotaur are all films of remarkable rigor and seriousness...

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Cannes: Pedro Almodovar's "Bitter Christmas" plays a dangerous artistic game

by Elisa Giudici

Leonardo Sbaraglia stars in 'BITTER CHRISTMAS'

Pedro Almodóvar has spent the last few years stripping away the protective layers between himself and his cinema. Ever since Pain and Glory, his films have stopped merely borrowing from autobiography and started openly feeding on it. The characters no longer resemble fragments of the director; they practically announce themselves as extensions of him. Bitter Christmas (Amarga Navidad) pushes that process to an almost uncomfortable extreme. It is simultaneously a film about artistic exhaustion, physical decline, creative addiction, and the terror of becoming irrelevant while still alive enough to notice it happening.

For much of its runtime, though, the film appears to be failing. Scenes drift without urgency. Narrative threads open and dissipate. Characters talk endlessly without ever fully arriving anywhere emotionally. Even desire, once the volatile lifeblood of Almodóvar’s cinema, feels strangely absent, reduced to memory, routine, residue. Watching Amarga Navidad, it becomes difficult not to wonder whether this is simply what late-period decline looks like: a legendary filmmaker trapped inside diminished versions of his former obsessions. That uneasy sensation turns out to be the film’s central provocation...

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Cannes at Home: A Polarizing Pandemonium

by Cláudio Alves

Adèle Exarchopoulos won a César for Jeanne Herry's ALL YOUR FACES. Will her new collaboration with the director, presently at Cannes, produce similar results?

The 2026 Cannes Film Festival is drawing to a close, so I should probably hurry up with this corresponding Cannes at Home program. In the past few days, a number of titles have come and gone on the Croisette, most of them eliciting wildly divisive reactions. Nobody seems to agree on the merits of Na Hong-jin’s Hope, and Arthur Harari’s The Unknown has proven similarly polarizing. While some bet on Cristian Mungiu’s Fjord for the Palme, others are decrying it as a minor work, if not an outright failure. Elisa is a fan, for instance, but TFE’s old friend Nick Davis is a naysayer. In the middle of all this, László Némes’ historical Moulin and Jeanne Herry’s Garance have mostly slipped by under the radar, drawing little attention while also sparing themselves the lacerating putdowns their bolder, more ambitious competition has inspired in film critics and audiences alike.

For this lightning round of Cannes at Home, let’s run this gamut of filmmakers in capsule form. Their films are Nemes’ handsome Sunset, Herry’s actorly All Your Faces, Na’s go-for-broke bonkers The Wailing, Harari’s portrait of Onoda, and Mungiu’s first foray into the intolerance that can emerge in European communities beset by the arrival of outsiders, R.M.N...

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Cate Blanchett at Cannes

by Elisa Giudici

Cate Blanchett. Photo © Elisa Giudici

Cate Blanchett came to Cannes ostensibly to spotlight the Displacement Film Fund, the initiative she co-founded with the UNHCR to support displaced filmmakers and stories about forced migration. But the conversation quickly expanded into something broader: a sharp, funny, deeply thoughtful reflection on acting, authorship, AI, artistic risk, and the changing state of cinema itself...

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