The 2025 Cannes Film Festival’s Official Selection ranged across Competition, Un Certain Regard, Out of Competition and other sections. This guide highlights 12 films from that broader selection—not a festival-issued ranking—and identifies each film’s section so the list is easy to navigate. The 78th festival ran from 13 to 24 May 2025.
Festival de Cannes’ Official Selection list was published on 10 April 2025 and updated regularly. The festival’s 2025 press kit gives the festival dates.
12 films to know from Cannes 2025
The selection below balances Competition titles with films from other sections, including the festival opener. Section labels matter: a film can be part of the Official Selection without competing for the Palme d’Or.
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Partir un jour (Leave One Day) — Amélie Bonnin
Section: Out of Competition; opening film. It opened the festival, but was not a Competition entry. That distinction makes it a useful starting point for understanding how the Official Selection extends beyond the Palme d’Or race.
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The Phoenician Scheme — Wes Anderson
Section: Competition. Anderson’s film was among the titles contending for the Palme d’Or. Its presence anchors the selection’s strand of established international filmmakers.
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Eddington — Ari Aster
Section: Competition. Aster’s title brought a contemporary American filmmaker into the main competition lineup.
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Resurrection (Kuang ye shi dai) — Bi Gan
Section: Competition. The official listing gives both the English title and Chinese-language title, helping distinguish the film in international coverage.
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Jeunes Mères — Jean-Pierre and Luc Dardenne
Section: Competition. The Dardennes’ film was one of the competition’s entries from Belgium’s acclaimed filmmaking duo.
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Alpha — Julia Ducournau
Section: Competition. Ducournau returned to the Cannes main competition with a new feature after her earlier Palme d’Or-winning film, Titane.
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Renoir — Chie Hayakawa
Section: Competition. Hayakawa’s film added a Japanese director’s work to the main competition selection.
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La Petite Dernière — Hafsia Herzi
Section: Competition. Herzi’s title was among the films representing a range of directors and national cinemas in the Palme d’Or race.
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Nouvelle Vague — Richard Linklater
Section: Competition. The title and director make this a notable entry for cinephiles interested in films that engage with cinema history.
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The Secret Agent (O Agente Secreto) — Kleber Mendonça Filho
Section: Competition. The festival listed the film under its English and Portuguese titles, a useful detail when searching for information across different markets.
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Eleanor the Great — Scarlett Johansson
Section: Un Certain Regard. Johansson’s film was not a Competition title; its placement in Un Certain Regard makes it one of the selection’s alternatives to the main Palme d’Or lineup.
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Highest 2 Lowest — Spike Lee
Section: Out of Competition. Lee’s film broadened the selection beyond competitive entries, offering another high-profile title to watch outside the Palme d’Or race.
These titles are a curated cross-section, not a complete list. The official selection also included Competition films such as Sirāt by Oliver Laxe, It Was Just an Accident by Jafar Panahi and Sentimental Value by Joachim Trier; Un Certain Regard films including Urchin by Harris Dickinson; and the Out of Competition film Mission: Impossible – The Final Reckoning by Christopher McQuarrie. The festival’s official list is the place to check the full selection and its section labels.
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How to read the Cannes lineup
“Cannes lineup” can mean either the Competition or the complete Official Selection. The latter spans multiple sections, so a title’s appearance at the festival does not by itself mean it competed for the Palme d’Or. In this guide, the opening film and the Un Certain Regard and Out of Competition entries are labeled separately for that reason.
What happened to the 2025 selection afterward?
In a retrospective published on 28 January 2026, Festival de Cannes reported that the 2025 Official Selection accumulated more than 1,545 nominations and almost 476 awards worldwide. The festival says those figures are as of 16 March 2026 and credits IMDb, Allociné and Wikipedia for the compilation; treat them as the festival’s reported tally, not an independently audited count. The same retrospective reported that seven selections passed 500,000 viewers in French cinemas, while La Venue de l’avenir and La Femme la plus riche du monde approached one million admissions. Those are French cinema admissions, not worldwide box-office totals. Read the festival’s retrospective and its qualifications.
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