The Old Definition of 'Prestige'
Let’s be honest: for a long time, the stereotype of a top-tier Cannes film was a three-hour Romanian drama about a struggling family, shot in shades of gray. It was “important,” “challenging,” and often, a tough sell for anyone outside the most dedicated cinephile circles. The festival built its reputation on discovering and championing master directors like Michael Haneke or the Dardenne brothers, whose films are methodical, deeply humanistic, and rarely described as “a fun time at the movies.” A win at Cannes, particularly the top prize Palme d'Or, conferred instant art-house credibility. It signaled that a film was a significant work of art, destined for critical acclaim and a quiet, respectable run in select U.S. theaters. The goal was prestige,
not necessarily popcorn sales or wide-ranging cultural buzz.
Enter the Genre Upstarts
That old model has been spectacularly disrupted. Look no further than recent winners. Coralie Fargeat’s “The Substance,” a body-horror satire starring Demi Moore, earned rave reviews and a screenplay award at the 2024 festival. It’s a film described as both hilarious and stomach-churningly grotesque—a far cry from a quiet character study. Similarly, the 2021 Palme d'Or went to “Titane,” a shocking and visceral story involving a car-impregnated serial killer. And just before that, Bong Joon Ho's “Parasite” started its legendary journey to Best Picture at the Oscars by first conquering Cannes. The festival is no longer shying away from genre; it’s embracing it. These films use the language of horror, thrillers, and sci-fi to explore complex social themes, proving that a movie can be both intellectually rigorous and wildly entertaining.
The Unapologetic Crowd-Pleaser
Perhaps the biggest shift is the festival’s newfound love for the vibrant, high-energy crowd-pleaser. Sean Baker’s 2024 Palme d'Or winner, “Anora,” is a prime example. It’s a chaotic, funny, and deeply humane story about a sex worker who marries a Russian oligarch's son, described by many as a shot of pure adrenaline. It doesn't just ask you to admire its craft; it grabs you by the collar and demands you have a good time. Likewise, Jacques Audiard’s “Emilia Pérez”—a Spanish-language musical about a Mexican cartel leader who undergoes gender-affirming surgery—was the talk of the festival, winning two major awards. It’s a bold, high-concept spectacle that’s as moving as it is audaciously fun. These films generate buzz not just because they are good, but because they are impossible to ignore. They create an event, something people are desperate to see and talk about.
From the Croisette to the Oscars
This evolution isn’t just an internal festival trend; it’s rewriting the path to mainstream success. The old thinking was that a Cannes winner might get a few Oscar nominations in niche categories like Best International Film. That glass ceiling has been shattered. After winning the Palme d’Or, Justine Triet's “Anatomy of a Fall” became a global phenomenon. A tense courtroom drama that’s also a gripping mystery, it was a box-office hit in the U.S., dominated pop culture conversations for months, and went on to win the Oscar for Best Original Screenplay. It proved that a smart, sophisticated, and foreign-language film could also be a legitimate commercial contender. The new Cannes hit doesn’t have to choose between being an art-house darling and a mainstream success; it can be both.
