The Rise of the 'What-Is-It?' Film
For decades, American audiences and the critics who guide them have relied on genre as a cinematic shorthand. Is it a comedy, a drama, a horror flick? This helps set expectations. But in recent years, the most talked-about films emerging from the prestigious Cannes Film Festival have been the ones that gleefully defy such easy categorization. These are the “what-is-it?” films, and they’re forcing a necessary evolution in criticism. Take Sean Baker’s 2024 Palme d'Or winner, *Anora*. On its face, it’s about a Brooklyn exotic dancer who marries the son of a Russian oligarch. Is it a Cinderella story? A dark comedy about class? A high-stakes thriller? The answer is yes, to all of the above. Critics didn't just praise the film; they spent paragraphs
trying to unpack its constantly shifting tone, celebrating its refusal to be just one thing. It’s a prime example of a film that doesn’t fit the mold, but rather, breaks it.
From Body Horror to Black Comedy
This isn’t an entirely new phenomenon, but it has accelerated. Julia Ducournau’s 2021 Palme d'Or winner, *Titane*, was a masterclass in genre anarchy. It started as a shocking body-horror film involving cars and motor oil before morphing into a surprisingly tender story about found family and identity. American critics were left grasping for comparisons, ultimately deciding the film’s unique, unclassifiable nature was its greatest strength. Similarly, Coralie Fargeat's 2024 sensation, *The Substance*, starring Demi Moore, was celebrated as both a gruesome horror spectacle and a razor-sharp satire of Hollywood's obsession with youth and beauty. Even Bong Joon-ho’s *Parasite*, which began its journey to Oscar glory at Cannes in 2019, was famously difficult to pin down. It’s a pitch-black comedy until, suddenly, it’s a devastating thriller, which then becomes a heartbreaking tragedy. The film’s success proved that audiences, when guided by critical acclaim, were more than ready for tonal whiplash.
Why Cannes is the Perfect Incubator
So why is Cannes the nexus for this trend? Unlike the Hollywood studio system, which often develops projects with a clear marketing quadrant in mind, the Cannes Film Festival is a marketplace of prestige. International filmmakers who bring their work to the French Riviera are often rewarded for audacity, not commercial safety. They are encouraged to take risks and blend influences in ways that a U.S. studio, worried about a weekend box office, might discourage. When American critics attend Cannes, they are viewing these films in a context that values artistry and provocation above all else. A strange, unmarketable film in Ohio might be a visionary masterpiece on the Croisette. This environment gives critics the permission—and the vocabulary—to engage with these films on their own chaotic terms, rather than penalizing them for failing to meet conventional genre expectations.
The Ripple Effect on American Cinema
This isn't just an intellectual exercise for critics on the French Riviera. The trend has a tangible ripple effect. When a genre-bending film wins the Palme d'Or and generates ecstatic reviews, it sends a message back to the industry. It creates space for more adventurous storytelling in the mainstream. The rise of so-called “elevated horror” from directors like Jordan Peele (*Get Out*) and Ari Aster (*Midsommar*) owes a debt to this festival circuit validation. These films blend horror tropes with biting social commentary and psychological drama, appealing to audiences who want more than just jump scares. The success of films like *Parasite* at the Academy Awards demonstrates that what starts as a critical darling at Cannes can become a global cultural phenomenon, reprogramming both industry and audience expectations along the way.
