Cannes critics highlight Almodóvar, Hamaguchi, Schoenbrun

Cannes 2026 wrapped its competition lineup on May 22, with critics zeroing in on films by Pedro Almodóvar, Ryusuke Hamaguchi, and Jane Schoenbrun as top standouts amid a festival many called underwhelming overall. The Los Angeles Times highlighted these three directors' works in its list of 10 films "worth looking out for in a year of disappointments," published May 22. Variety and The Hollywood Reporter issued similar critics' picks on the same day, while Deadline's running review index tracked hundreds of reviews through the closing ceremony on May 23. 1/ Which Almodóvar film caught critics' eyes? Pedro Almodóvar's "Bitter Christmas" world-premiered on May 19 (Tuesday), earning praise for its bold style despite the festival's uneven auteur lineup. The Los Angeles Times called it one of the few films delivering on Almodóvar's signature emotional intensity and visual flair. Vanity Fair's live coverage noted its premiere buzz, tying it to Almodóvar's return to form after recent shorts. 2/ What's the Hamaguchi pick? Ryusuke Hamaguchi's latest—still untitled in early reports but confirmed in critics' roundups—impressed with its intricate narrative layering, a hallmark of the Drive My Car director. Variety included it in its "20 Critics' Picks from This Year's Festival," praising its quiet power amid Cannes' louder entries. The Guardian's May 22 wrap-up flagged Hamaguchi as a potential Palme d'Or contender, citing his film's "understated brilliance" in a glitz-light year. 3/ Jane Schoenbrun's standout? Jane Schoenbrun's "I Saw the TV Glow" follow-up, tentatively "Teenage Sex and Death at Camp Miasma," landed on multiple lists for its genre-bending horror and queer themes. Variety spotlighted it explicitly among its top 20, while the Los Angeles Times grouped it with Almodóvar and Hamaguchi as must-sees (; ). Schoenbrun's rising profile post-Sundance has positioned her as a fresh voice in American indie cinema. 4/ What did other major outlets say? Variety's list also named "Fatherland," "Paper Tiger," and "Club Kid" as critic favorites, reflecting diverse tastes from political dramas to bold satires. The Hollywood Reporter's "20 Best Films" included a James Gray melodrama, Rami Malek's "The Man I Love," Sandra Hüller's star vehicle, a French coming-of-age story, and a Korean monster flick—signaling no single frontrunner. The Guardian described the fest as having "little glitz and underperforming auteurs" but eyed prizes for similar titles. 5/ How did reviews roll out? Deadline's index aggregated over 200 reviews by May 23, updated daily with scores from Metacritic-style averages—Almodóvar at 82/100, Hamaguchi at 88/100 early on. Critics filed post-premiere, with competition films wrapping May 22 ahead of the May 23 ceremony. IndieWire and Screen Daily echoed the picks, noting a "disappointing" competition but strong Un Certain Regard sidebar. 6/ Any Palme d'Or buzz? No consensus winner emerged; The Guardian handicapped Almodóvar and Hamaguchi as possibles, with Schoenbrun as a dark horse before the jury's May 23 announcement. YouTube breakdowns like "CANNES 2026 | Checking In | Updates & Palme d'Or Predictions" (May 23) mirrored this split. Winners were revealed at the Palais des Festivals closing night. These films now eye fall festivals like Venice and Toronto; check Deadline's index for acquisition updates as distributors move.