Yesterday, May 24th, the 78th edition of the Cannes Film Festival wrapped under the golden glow of the French Riviera, concluding a whirlwind of premieres, ovations, and unforgettable red carpet moments. This year’s lineup delivered cinematic excellence across continents and genres, with an awards list that reflects the emotional power and political urgency of global storytelling. From Jafar Panahi’s Palme d’Or-winning Un Simple Accident to striking performances from rising stars and seasoned talents alike, here’s the full breakdown of every winner from Cannes 2025.
The coveted Palme d’Or went to Jafar Panahi for Un Simple Accident, a quietly devastating portrait of fate and moral ambiguity from the exiled Iranian master. A film of taut restraint and psychological precision, Panahi’s latest is both a political act and a profoundly human one.
Joachim Trier took home the Grand Prix for Affeksjonsverdi (Sentimental Value), a bittersweet Norwegian tale exploring memory, inheritance, and the fragile architecture of family bonds. Trier, always adept at blending melancholy with levity, crafts a cinematic elegy that lingers.
In a rare double honor, the Jury Prize was shared by two visionary films: Sirât, Oliver Laxe’s mystical journey through spiritual reckoning, and Sound of Falling, a haunting debut from Mascha Schilinski that merges grief with the surreal.
The Best Director prize went to Kleber Mendonça Filho for O Agente Secreto (The Secret Agent), a politically charged thriller that also garnered Best Actor for Wagner Moura’s electrifying turn as a man ensnared in the machinery of espionage and ideology.
Best Actress was awarded to Nadia Melliti for her searing performance in La Petite Dernière, directed by Hafsia Herzi, a film that navigates the delicate terrain of womanhood, tradition, and autonomy with raw elegance.
The Best Screenplay prize went to Belgian auteurs Jean-Pierre and Luc Dardenne for Jeunes Mères, a script rooted in their signature social realism and deep empathy for lives on the margins.
A Special Award went to Bi Gan’s Resurrection, an atmospheric meditation on loss, time, and spiritual rebirth that stretches the boundaries of cinematic language.
IN THE SHORTS AND PARALLEL SECTIONS: BRAVE VOICES EMERGE
The Short Film Palme d’Or was awarded to Tawfeek Barhom for I’m Glad You’re Dead Now, a provocative, emotionally blistering narrative that defies easy categorization. A Special Mention went to Adnan Al Rajeev’s Ali, a poignant meditation on displacement and identity.
Un Certain Regard, always fertile ground for boundary-pushing talent, crowned Diego Céspedes with its top prize for La Misteriosa Mirada del Flamenco (The Mysterious Gaze of the Flamingo), a surreal and sensual fable pulsing with Latin American mysticism.
Highlights in the section included Simón Mesa Soto’s Un Poeta (A Poet) taking the Jury Prize, and Arab & Tarzan Nasser, recognized for their stirring direction of Once Upon a Time in Gaza. Harry Lighton earned the Best Screenplay nod for Pillion, while standout performances came from Cleo Diára (O Riso e a Faca) and Frank Dillane (Urchin).
The Caméra d’Or, honoring the best first feature across all selections, went to Hassan Hadi’s The President’s Cake, a satirical yet heartfelt debut that captivated audiences with its originality.
In the La Cinef student section, Heo Gayoung’s First Summer (KAFA, South Korea) won the First Prize, affirming the promise of Asia’s next wave of auteurs. The second and joint third prizes celebrated emerging talents from China, Japan, and Estonia.
BEHIND THE CAMERA: HONORING CRAFT
The CST Award for Best Young Female Technician went to Éponine Momenceau, director of photography for Connemara by Alex Lutz, praised for her subtle visual storytelling. Meanwhile, the CST Artist-Technician Award honored Ruben Impens and Stéphane Thiébaut for their work on Julia Ducournau’s Alpha, a film whose visual and sonic textures elevated it to sensory art.
As Cannes 2025 fades into memory, what remains is the collective heartbeat of its stories: bold, unapologetic, and unafraid to provoke. In an era of cultural shifts and global unrest, cinema—this year more than ever—proved itself a mirror, a refuge, and a call to imagine more.
