Cannes 2025: Our coverage of the remarkable Palme d’Or à Six films de Neon | Festivals and awards

Tom Quinn and Neon accomplished something that even Miramax could not in the late 80s and early 90s, when they took Palme d’Or winners like “Pelle The Conqueror”, “Farewell My Concubine” and “Pulp Fiction”. The company will have produced and / or distributed six consecutive palm winners, starting with “parasite” of 2019 and continued this year with their purchase of “it was a accident” of Jafar Panahi. We thought that we would use this impressive sequence to remember our cover of the six films, their initial coverage in Cannes thanks to their review on the theater release, and sometimes even at the end of the year and the cover of the interviews. Can they do seven in 2026?

2019: “parasite”

In May 2019, Barbara Scharres was the first to cover the “parasite” of this site, writing “little by little, Bong managed to turn the tables on this plot with a feeling of visible justice, to reveal all its crew of joyful grifters as small people fighting on the crumbs.” It was the first of many pieces in the film, followed closely by a news on his Palme victory, and, finally, a 4-star criticism from Brian Tirrico, and inclusion on our best of 2019 and the best of the lists of the 2000s. Read them all below:

Parasite film review

Bong Joon-Ho on the themes and crafts of his unavoidable film, parasitic

The ten best films of 2019

The best films of the 2010s

The 10 best films by Chaz Ebert (then some) of 2019

2021: “titanium”

Ben Kenigsberg launched our cover of the “titanium” by Julia Ducournau, saying: “A sort of neo-Giallo,” titanium “is a film of daring colors and smooth metal noises”. His mixed review was countered by a rave in October of the same year when the film was released in theaters, and Sheila O’malley wrote: “The deeper thematic revelations can arrive too late in the game for those who are deactivated or shot by the frantic pituitance of the first half, but of Ducournau, inventive, inventive, fat in its approach and its sensitivity.

2022: “triangle of sadness”

Ruben Östlund won his second palm for the three peats of Neon (after “The Square” of 2017) and Ben Kenigsberg led the cover of Cannes: “Throughout the Östlund thesis, the changing value of various currencies – master, food, sex – ultimately redesigns the limits of acceptable behavior.” Jason Gorber also wrote on the film by Cannes and presented a video by Chaz Ebert the same year.

The film was covered several times that year, including Kviff by Robert Daniels and Nyff by Godfrey Cheshire. Finally, Brian Tallerico reviewed the film on its theatrical release in October, writing: “There are undeniably exchanges of dialogue and entertaining twists and turns in the withdrawal of the shallow elite, and yet a part, in particular in the final act, are beginning to feel redundant, and perhaps even as superficial as the sadness” that the film seeks to stroll. On the level of goodness, even if it unplods so bad and so bad behavior.

2023: “anatomy of a fall”

Our Cannes expert, Ben Kenigsberg, struck the winner of the palm of Justine Triet first on May 21^st2023, writing: “The key to the film is that it is not, in fact, an anatomy of a murder. It is an anatomy of a marriage, or specifically how a marriage collapsed.” There were not many other covers apart from the criticism of 3.5 stars of Brian Talrico, and the film was placed in the Best finalists of 2023 of the site en route towards an appointment of the best image.

2024: “Anora”

Sean Baker’s film was probably the most essential from last year to his Oscar Palme victory for the best film and the best director. This started again with Ben Kenigsberg, writing before having brought back the palm: “Baker now has a way to work with locations and actors who seem entirely his (looking for other previous collaborators, such as Brittney Rodriguez from” Red Rocket “). His films are also without political effort, affecting the body in terms of immigration. The cover of there was as extended as any film of 2024. Read them all below, including our writing on the film as one of the best of the year:

Film review Anora

Fewer sex scenes, more sex shots: Sean Baker and Mikey Madison on “Anora”

The great performances of 2024, first part

The best films of 2024

Anora’s real life fairy tale: Victory at Five Oscar for the independent film

2025: “It was only an accident”

Which brings us to the last winner of Palme d’Or who will be published by Neon, probably later this year. There will be much more to come, but, for the moment, our cover begins and ends with this Brian Tallerico review, in which he writes: “Panahi refuses to work in a dramatic register which provides simple answers to complex moral questions. He is a deliberate and refined filmmaker, but his films boiling with the emotional force of personal demons. ”