In der sechsten Episode sprechen Lida, Jakob und Patrick über James Grays Paper Tiger, mit dem der Amerikaner zum sechsten Mal im Wettbewerb von Cannes vertreten ist. Darüber hinaus spricht das Trio, noch im Unwissen, über Christian Mungius Palme-d'Or-Gewinner Fjord und über Arthur Hararis Body-Switch-Film The Unknown.

After screening his films at Karlovy Vary, Raindance, and Visions du Réel, Viesturs Kairišs now arrives at Cannes with his daring portrait of an iconic figure, both of his Latvian home country and the history of sport. Ulya tells of the youth and professional ascent of basketball player Uljana Semjonova, whose records remain unmatched. At the Palais des Festivals, where his feature just premiered in the Un Certain Regard section, the Latvian director talks with Lidanoir about meeting Semjonova, his controversial casting choice, and the themes of gender and trans identity mirrored in the mise-en-scène.

Cannes is for her a well-acquainted sphere where she has presented more than half a dozen films. Most prominently, Portrait of a Lady on Fire drew international attention to her subtlety and depth. Now, Noémie Merlant is back with a work as fierce and fabulous as it is funny. Bertrand Mandico’s Roma Elastica, screening in the Midnight Movies slate, follows a fading star and her affectionate assistant on a journey into vintage Italian cinema and increasingly surreal territory. After the premiere the previous night, the French actress spoke with Lidanoir about her close friendship with co-star Marion Cotillard, the importance of queer cinema, and how her film’s themes of sexism and ageism in the film industry reflect on the present.

From big budget productions like Pixar's WALL-E and the mainstream animation success Asterix Louis Clichy went on his own artistic journey. It lead the French filmmaker to the 79th Cannes Film Festival where his feature film debut holds a prominent place as the only animated film in the prestigious Un Certain Regard section. In dreamy watercolors, Iron Boy imagines the coming-of-age of 10-year-old Christophe, suffering rom severe skoliosis, who struggles with medical and familiar restraints. On the rooftop terrasse just across from the Palais du Cinema, Clichy spoke about the story's connection to his own childhood, why he chose aquarell and 2D over CGI images, and the downside of lavish studio productions.

From her early writing collaborations for the Oscar-nominated drama Mustang over her acclaimed directing debut Augustine to her last feature film Couture - an empathic look at intersecting lives in the fashion world - Alice Winocour proved once more her creative range as both a screenwriter and director. From daring independent films to star-studded productions, from empathic look at intersecting lives in the fashion world, she established herself as an equally versatile and skilled rising talent of contemporary European cinema. At the Directors Fortnight of the 79th Cannes Film Festival, the French filmmaker spoke with Lidanoir about here work process and inspirations, the importance of representation of female directors, and why her next film with take a foray into the horror genre.

After showing his decisive films at Locarno, the Berlinale, and Toronto, Radu Jude has now made the leap to Cannes. Here the Romanian director once again proves his knack for scathing social satire with The Diary of a Chambermaid. Loosely based on Octave Mirbeau’s famed novel, the biting comedy screening in the Directors’ Fortnight highlights the struggles of a Romanian domestic help and the exploitative economic power structures of the EU’s globalized job market. On site in Cannes, Radu Jude discusses his personal experiences shaping the story, using non-traditional techniques to create his films, his shifting focus on classic sources, and more.

Am sechsten Tag kehrt Jakob wieder in die gewohnte Runde mit Lida und Patrick zurück. Zunächst diskutiert das Trio über die problematischen Aspekte rund um Marie Kreutzers Gentle Monster, der sich unter anderem mit der Aufdeckung von Pädokriminalität auseinanderzusetzen sucht. Mit Ryūsuke Hamaguchis All of a Sudden wartet das Festival zudem mit einem der meisterwarteten Titel des Festivaljahres auf. In der Folge zeigen sich Jakob und Patrick schwer begeistert von Lisandro Alonsos Fortsetzung seines Debütfilms La Libertad: La Libertad doble. Und schließlich kommen Lida und Jakob noch kurz auf Quentin Dupieux' Full Phil zu sprechen - einer von zwei Filmen des französischen Tausendsassas.

Am fünften Tag der Cannes-Filmfestspiele stehen Lida und Patrick unter massiven Zeitdruck und rasen förmlich durch die Filme. Im Schnelldurchlauf kommen die beiden zunächst auf Patricks Geheimtipp Virages aus der Schweiz zu sprechen, bevor das Gespräch zu Steven Soderberghs neuer Dokumentation über das letzte Interview mit John Lennon und Yoko Ono übergeht. Patrick empfiehlt überdies Reed Van Dyks Debütfilm Atonement, in der ein amerikanischer Soldat Buße für von ihm mitverursachte Morde an irakische Zivilist*innen während der amerikanischen Invasion 2003 in Irak zu üben sucht. Und schließlich zeigt sich Lida größtenteils enttäuscht vom neuen Film des früheren Palm-d'Or-Gewinners Hirokazu Kore-eda: Sheep in the Box.

Adapting comedic conventions to an equally profitable and popular form of cinematic entertainment proved a specialty of Pierre Salvadori. This mix of wit and whimsy makes it seem only fitting for the French filmmaker to open the 79th Cannes Film Festival with his newest work, The Electric Kiss. Historic comedy and romance mingle in a chaotic charade where art and amorous confusion collide with metaphysics and manipulation. In an interview on-site in Cannes, the director reflects on the origins of the burlesque comedy’s story, its themes of art and color, working with his frequent collaborator Pio Marmaï, and his favoring of humor over tragedy.

Am vierten Tag von Cannes 2026 zeigt sich das Moviebreak-Trio uneins über Jane Schoenbruns neuen Film Teenage Sex and Death at Camp Miasma. Darüber hinaus kommen Lida, Jakob und Patrick auf den neuen Film des Ida-Regisseurs Paweł Pawlikowski zu sprechen, in dem sich Thomas Mann (Hanns Zischler) und Tochter Erika (Sandra Hüller) auf einen Road-Trip von Frankfurt nach Weimar durch das geteilte Deutschland begeben. Und schließlich ist auch noch über Radu Judes Version des bereits häufig adaptierten Romans Le Journal d'une femme de chambre des Franzosen Octave Mirbau zu reden.