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Then Soulemaine and a number of other young men disappear in the night, and mysterious fires are lit around town. It’s an extraordinary feature debut for Diop — who came away from Cannes with the Grand Prix, essentially second place to the festival’s top prize, the Palme d’Or — and an unforgettable tale of the poor struggling to assert their right to what’s theirs.Atlantics , from directors Juliano Dornelles and Kleber Mendonça Filho, was one of many films about inequality and revolt in this year’s competition, where it won the Jury Prize.The Climb is a modest and quietly deep story about a family adjusting to change.Frankie (Isabelle Huppert) is a world-renowned actress who summons her family — her husband (Brendan Gleeson), son (Jérémie Renier), stepdaughter (Vinette Robinson) and family, and her ex-husband (Pascal Greggory) — to the idyllic landscape of Sintra, in Portugal.The film — which won Balagov the Best Director Prize in the festival’s Un Certain Regard competition — is not easy to watch.But it’s achingly beautiful, with unnerving performances.Here are the 15 best movies I saw at Cannes this year, and why they’re worth seeing.Mati Diop, the first black woman in Cannes history to have a film in the festival’s main competition, tells the story of Ada (Mame Bineta Sane), a Senegalese girl living in a poor village that’s been exploited by a wealthy developer.

And that feeling of revolution extended to the festival’s awards slate, too: When this year’s prizes were handed out on May 25, it turned out several winners had made Cannes history.Young Ahmed, the first film from French director Ladj Ly, isn’t based on the famous Victor Hugo novel whose title it shares.But that’s where it takes its cues, concluding with a quotation from the book: “Remember this, my friends, there are no such things as bad plants or bad men.All things in life eventually end; is Malick’s most overtly political film and one of his most religious, urgent, and sometimes even uncomfortable because of what it says — to everyone, but specifically to Christians in places where they’re the majority — about the warp and weft of courage.It also seems designed to lodge barbs in a comfortable audience during an era of rising white nationalism.

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