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Aug 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
Aug 19, 2019

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Aug 19, 2019

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Cannes 2025: ‘The Mysterious Gaze of the Flamingo’ Wins Un Certain Regard

May 24, 2025 Jordan Ruimy

I saw roughly a dozen Un Certain Regard titles this year. Unlike last year, there weren’t many good ones—even among some of the films awarded this evening at Salle Debussy.

Ahead of Saturday’s main awards ceremony, Cannes handed out its Un Certain Regard prizes, with the top honor going to Chilean filmmaker Diego Céspedes “The Mysterious Gaze of the Flamingo,” an overcooked romp.

Set in a remote Chilean mining town in 1982, ‘Mysterious Gaze’ follows 12-year-old Lidia, the only girl in a community gripped by fear as a mysterious illness spreads. When gay men are blamed for transmitting it through their eyes, Lidia sets out to uncover the truth.

Harry Lighton’s “Pillion” took Best Screenplay. The BDSM queer romance starring Harry Melling and Alexander Skarsgård left a mark for its audacity.

The Jury Prize went to “A Poet,” Simón Mesa Soto’s idiosyncratic character study shot in textured 16mm. The film had a hilarious non-professional lead, Guillermo Cardona, playing a failed poet, who felt like a Robert Crumb sketch come to life.

Tarzan and Arab Nasser won the directing prize for their anthology of stories, “Once Upon a Time in Gaza.” This is sadly the only film I missed of the award winners.

On the acting front, Frank Dillane (“Urchin”) and Cléo Diara (“I Only Rest in the Storm”) shared the performance award. Dillane’s turn as a homeless addict in Harris Dickinson’s gritty debut is the one award this year’s Un Certain Regard jury truly got right — I would have probably given it the top prize as well.

Grand Prize: “The Mysterious Gaze of the Flamingo,” Diego Céspedes

Jury Prize: “A Poet,” Simón Mesa Soto

Best Screenplay: Harry Lighton, “Pillion”

Best Performance: Cléo Diara, “I Only Rest in the Storm” and Frank Dillane, “Urchin”

Best Director: Tarzan and Arab Nasser, “Once Upon a Time in Gaza”

← Ethan Coen’s ‘Honey Don’t’ Panned By Critics [Cannes]‘The Mastermind’ is Kelly Reichardt’s Most Accessible & Enjoyable Film [Cannes] →

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