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Early on in director Pedro Pinho's I Only Rest In The Storm, there are a couple of scenes that I remember fondly. The first is a touching exchange between the lead character, Sérgio (Sergio Coragem), a Spanish environmental engineer, and a road checkpoint guard. Amid the inherent tension of a clear imbalance of power, the weary guard, stuck in an isolated spot, asks Sergio if he has a book he could read. After rummaging around in his car, Sergio finds one and the two part ways – with a slight awkwardness despite the kind gesture. Then there's the scene in a marketplace where Sérgio first meets Diára (Cleo Diára), who dumps her shopping bags with him when she flees an angry man who she appears to have swindled.

Each of these scenes are about connections, and while the first is fleeting, the second one will be a substantive relationship in.

KlikFilm proudly announces the exclusive Indonesian release of a curated selection of award-winning films, fresh from the 2025 Cannes Film Festival, including this year’s prestigious Palme d’Or winner. Continuing its commitment to championing world cinema, KlikFilm once again becomes the home for the most talked-about international films of the year.

Leading the lineup is “It Was Just an Accident”, this powerful new film from Jafar Panahi was made in secret in Iran. With masterful subtlety and a sense of quiet urgency, Panahi constructs a moral thriller about guilt and complicity in a tightly surveilled society.

Here are the celebrated films from 2025 Cannes Film Festival coming soon to KlikFilm:

Sentimental Value

Grand Prix winner Joachim Trier returns with an emotionally rich drama about a widowed father and his two daughters reuniting after years apart. With a cast led by Renate Reinsve, Stellan Skarsgård, and Elle Fanning, the film explores memory,...

Nearly two hours into an ambitious critique of colonialism that runs almost twice as long, a pivotal scene brings “I Only Rest in the Storm” into sharp focus. The protagonist, a Portuguese engineer on assignment in Guinea Bissau, encounters a sex worker. He fails to get excited and in an attempt to smooth things over tries to initiate conversation with her about her life. She’s rightfully indignant as he’s wasting her time and tells him that what disgusts her most are good men, those who act as if they care when in fact they just want to feel good about themselves.

This scene encapsulates many of the topics on the mind of Portuguese director Pedro Pinho — namely, the effects of colonization on contemporary Africa and how attempts at modernization might be a hindrance rather than a way forward. The film follows Sergio (Sérgio Coragem), who’s sent to...

Jafar Panahi’s “It Was Just an Accident” captured the Palme d’Or in Cannes on 24 May, sealing a comeback for the Iranian director four years after Tehran lifted his travel ban. Jury president Juliette Binoche praised the thriller as “a force that transforms darkness into forgiveness, hope and new life,” moments after Panahi urged viewers to “join forces so that no one will dare tell us what we should do or wear”.

The win crowns a politically charged edition disrupted hours earlier by a Riviera power outage that briefly threatened the red-carpet broadcast yet left the closing ceremony intact. Neon, distributor of the last five Palme winners, pre-bought North-American rights to Panahi’s film during the festival, extending its awards-season run and intensifying scrutiny of whether Iran will permit a domestic release required for international-feature Oscar eligibility.

Joachim Trier’s Norwegian family drama “Sentimental Value” took the Grand Prix after a 19-minute ovation,...

Yes, Cannes is still rolling. And no, the Palme d’Or winner has not been crowned (that’ll come later Saturday). Cannes has been going on for so long that “Mission: Impossible – The Final Reckoning,” a film that screened early in the festival, is now playing on thousands of screens worldwide. But let’s get into the happenings before this year’s festival finally closes out.

Un Certain Regard Regarded

Everyone is always in a tizzy over what will get Cannes’ big award, the Palme d’Or, but just as interesting (perhaps more so) is the competition for the Un Certain Regard, which is run in parallel to the main competition. The goal of Un Certain Regard, which was introduced in 1998, is to give a spotlight to unusual films that take narrative or stylistic risks. And this year was no different.

This year’s top prize winner was “The Mysterious Gaze of the Flamingo,...

Gold Derby's top news stories for May 23, 2025.

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Cannes' Un Certain Regard winners revealed

The 2025 winners of the Un Certain Regard section of the Cannes Film Festival, which honors early career filmmakers, have been revealed. La misteriosa mirada del flamenco (The Mysterious Gaze of the Flamingo), the debut feature of Chilean filmmaker Diego Céspedes, won the top Un Certain Regard Prize. Colombian director Simón Mesa Soto won the second-place Jury Prize with his film Un Poeta (A Poet). Palestinian...

Ahead of the 2025 awards ceremony on Saturday, May 24, the festival has announced the winners for the Un Certain Regard section, with the top prize going to “The Mysterious Gaze of the Flamingo.” A co-production between Chile, France, Belgium, Spain, and Germany, the 1980s-set drama marks the feature directorial debut of Chilean filmmaker Diego Céspedes.

The Best Screenplay award for the Un Certain Regard section went to Harry Lighton for his feature directorial debut, A24’s “Pillion,” starring Harry Melling and Alexander Skarsgård. In his Critic’s Pick review out of Cannes, IndieWire’s Ryan Lattanzio said of the film, “Dick-sucking, boot-licking, and ball-gagging are de rigueur for a movie like writer/director Harry Lighton’s wildly graphic and strangely moving Bdsm romance, ‘Pillion.’ But for a British queer film that puts the particulars of a gay dominant-submissive affair up front and up close, actors Alexander Skarsgård and Harry Melling find...

The Mysterious Gaze of the Flamingo, Chilean writer-director Diego Céspedes’ AIDS bigotry drama and feature debut, spotlighted by THR as a festival gem, has claimed the top prize in the Cannes Film Festival’s 2025 Un Certain Regard competition.

The winning drama, set in the 1980s, portrays a small mining town in Chile where an unknown illness spreads and gay men are accused of transmitting it with their gaze. That leaves Lydia, an 11 year-old girl, to find out the truth. The Un Certain Regard competition winners were revealed in an awards ceremony in the Debussy Theatre on Friday.

Other honorees included A Poet, by Colombian director Simón Mesa Soto, taking home the Un Certain Regard Jury Prize for the drama about a failed poet mentoring a talented, young woman. The best director prize went to Tarzan Nasser and Arab Nasser for Once Upon a Time in Gaza, a Palestinian crime thriller...

Diego Céspedes’ The Mysterious Gaze Of The Flamingo has won the top prize in the Un Certain Regard section of this year’s Cannes Film Festival (May 13-24).

The Chilean drama centres around an unknown illness said to be transmitted through a man’s loving gaze. Chile’s Quijote Films and France’s Les Valseurs produce, with Charades handling sales.

The jury prize went to Simon Mesa Soto’s A Poet. Shot in Medellin, Colombia, it follows an ageing man obsessed with poetry who mentors a talented teenage girl.

Best screenplay went to Harry Lighton for Pillion, starring Harry Melling and Alexander Skarsgård.

Chilean Drama The Mysterious Gaze of the Flamingo by Diego Céspedes won the main Un Certain Regard Prize this evening in Cannes.

Set in 1982, the film follows eleven-year-old Lidia lives with her beloved queer family in a desert mining town in northern Chile. As an unknown and deadly disease begins to spread, legend has it that it is transmitted between two men, through a simple glance, when they fall in love. While people are accusing her family, Lidia must find out whether this myth is real or not.

A Poet, by Colombian filmmaker Simón Mesa Soto, won the Jury Prize. The film is Soto’s second feature, and it follows Oscar Restrepo, whose obsession with poetry brought him no glory. Aging and erratic, he has succumbed to the cliché of the poet in the shadows. Meeting Yurlady, a teenage girl from humble roots, and helping her cultivate her talent brings some light to his days,...

Diego Céspedes’ “The Mysterious Gaze of the Flamingo” has been named the best film of the Un Certain Regard section of the Cannes Film Festival, the Ucr jury announced on Friday.

The film follows an 11-year-old girl growing up in the early 1980s in a queer family in a small Chilean mining town, where suspicion is growing over a mysterious disease that is rumored to be spread by glances between gay men.

Simón Mesa Soto’s “A Poet” won the Jury Prize, the second-place award.

The directing award went to Tarzan and Arab Nasser for “Once Upon a Time in Gaza,” while Cléo Diara and Frank Dillane won the performance prizes for “I Only Rest in the Storm” and “Urchin,” respectively. Writer-director Harry Lighton won the screenplay award for “Pillion.”

Un Certain Regard focuses on films from younger directors and often spotlights experimental work. This year, Ucr was also the...

The Cannes Film Festival’s second-most prestigious competition, Un Certain Regard, is typically dominated by newer, less heralded names in world cinema. But there was more star power than usual at stake in this year’s awards ceremony, as pundits wondered whether one of the three debut features by prominent actors-turned-directors in this year’s lineup — Kristen Stewart, Scarlett Johansson and Harris Dickinson — could land a prize.

As it turned out, people needn’t have worried about a Hollywood takeover. Stewart’s “The Chronology of Water” and Johansson’s “Eleanor the Great” both went unawarded, as the jury threw a relative curveball in handing the Prix Un Certain Regard to Chilean director Diego Céspedes for his alluringly titled first feature “The Mysterious Gaze of the Flamingo,” an offbeat study of a transgender commune living in the Chilean desert around the onset of the AIDS epidemic in the 1980s.

The film...

Exclusive: Portuguese director Pedro Pinho’s West Africa-set drama I Only Rest In The Storm is playing in Cannes Un Certain Regard this year and Deadline can reveal the international trailer.

Delving into uncomfortable truths about the relationship between neo-colonialism and international NGOs, the drama stars Sérgio Coragem as an environmental engineer who travels to West Africa to work on a road project between the desert and the forest.

There, he becomes entangled in an intimate yet unbalanced relationship with two inhabitants of the city, Diara and Gui. As neo-colonial dynamics among the expatriate community unravel, this fragile bond becomes his only refuge from an impending collapse into solitude or barbarism.

Coragem is joined in the cast by Cape Verdean Portuguese actress Cleo Diára and artist and actor Jonathan Guilherme.

Tatiana Leite, a guest, Tiago Hespanha, Cleo Diára, Pedro Pinho, Jonathan Guilherme, Sérgio Coragem, Filipa Reis...

Pedro Pinho’s sophomore feature is boundary-crossing in all senses. An international, polylingual co-production between his home country, France, Brazil, and Romania, “I Only Rest in the Storm” is set in a chimerical blend of West Africa’s Guinea-Bissau and the surrounding French-speaking regions, its almost uncontainable three-and-a-half-hour runtime spanning the various sprawling landscapes. Its philosophy also seems to be that torpedoing taboos — the greatest boundary of all — is the best way to tackle its themes of racism, colonialism, and queerness.

The Portuguese director’s latest is unlikely to resemble what most viewers would expect from a film about NGOs, which mostly cast them in a positive, gloriously pure light. Few other efforts have dared to venture into the murkier side of the industry, with Joachim Lafosse’s “The White Knights” (adapting the events of the 2007 Zoé’s Ark controversy) and the documentary “Poverty, Inc.” a couple of rare exceptions.

Late into I Only Rest in the Storm, Sergio (Sérgio Coragem) is asked a question he can’t seem to answer: what do you care about? A Portuguese environmental engineer hired to evaluate the ecological impact of a massive road set to slice through Guinea Bissau, the man has spent his sojourn in a kind of existential paralysis. Granted, the gig has sent him traveling far and wide, shuttling from the capital’s luscious villas to hamlets the project will likely wipe out. He’s schmoozed with the local elite, inspected latrines in the country’s interior, and spent days with fellow Portuguese workers stranded in the desert, guarding cranes as tall as cathedrals. But for all this meandering, Sergio’s at a standstill, unable (or unwilling) to come to terms with the role he’s meant to play in a place he’s never seen before and whose future...

Exclusive: Chiara Mastroianni (Marcello Mio), Denis Podalydès (Sorry Angel), Guslagie Malanda (Dossier 137), Jasmine Trinca (La Storia), Cleo Diára (I Only Rest In The Storm), Isabél Zuaa (The Secret Agent), and Agustina Muñoz (Ariel) are set to lead feature Jealous White Men, which Magnify is launching for the Cannes market.

Filming is set to begin later this year in Galápagos, Portugal, Brazil, and Italy on director Ivan Granovsky’s adventure-tragicomedy. The film is co-written by Granovsky and Mariana Ricardo (Grand Tour). Cinematography is by Simone D’Arcangelo (The Settlers). Additional casting is in process.

The synopsis reads: “Jealous White Men is a wild, tragicomic adventure that satirizes history through dueling narratives by Jules Verne and his wife Honorine, each recounting young Charles Darwin’s journey to the Galápagos — a voyage teeming with pirates, pink iguanas, and a riotous mix of chaos, discovery, and revolt.”

Magnify is handling global and U.S.

Points for originality should go to “Diamantino,” an amusing but scattershot comedy that revolves around a world-famous Portuguese soccer star patterned in part on Cristiano Ronaldo. Co-directed and written by Gabriel Abrantes and Daniel Schmidt, this is a film that takes a lot of chances with its tone as it moves from farcical moments to scenes with earnest political messages.

Diamantino (Carloto Cotta) is a national idol on the soccer field, and whenever he scores a goal he sees enormous fluffy puppies surrounding him. This imagery of the giant puppies is funny because they’re so obviously meant to be small and harmless pets, and here they’re seen stomping around like dinosaurs. These giant fluffy puppies are an apt symbol of Diamantino himself, a sports God who is so absurdly innocent that he can be used by anyone around him for either good or bad purposes.

Diamantino is inspired...

"Something magical happened when I played." Kino Lorber has debuted an official Us trailer for the wacky, brilliant, one-of-a-kind "high camp" indie comedy Diamantino, from directors Gabriel Abrantes & Daniel Schmidt. This Portuguese film premiered in the Critics' Week sidebar at the Cannes Film Festival last year, and stopped by a bunch of major film festivals throughout the film. "Tabu's Carloto Cotta gives the finest comic performance in recent memory as the dimwitted Portuguese soccer superstar of the title, a burlesqued version of Cristiano Ronaldo, swept up in a complicated comic conundrum involving the refugee crisis, Secret Service skullduggery, mad science genetic modification, and a right-wing anti-EU conspiracy." This is easily one of the most creative, original, and hilarious films I saw last year and I definitely recommend it - a "high-camp" international discovery that will be a cult classic very soon. Also stars Cleo Tavares, Anabela Moreira, Margarida Moreira,...

Review by Peter BelsitoPortuguese soccer icon Diamantino is the most famous person in the world.

So the film begins. And gets crazier as it moves along but in a very funny way.

After blowing his team’s chances at the 2018 World Cup, Portuguese soccer icon Diamantino retreats in shame to his amazing palatial home. Bereft of purpose, confused and desperate to atone for his act of national humiliation, he is convinced to adopt an African refugee youth in a naive attempt to reinject meaning into his shattered life.

While awaiting the arrival of his new son, he becomes the unwitting victim of a government tax investigation, a neo-fascist plot to seize power, and the daily machinations of his cartoonishly villainous twin sisters.

It doesn’t happen that often that when you see something that takes you completely by surprise.

Diamantino, from the directorial duo of Gabriel Abrantes from Portugal and U.

AFI Fest’s World Cinema section unveiled Tuesday includes seven films that have been officially submitted for the Foreign Language Film Oscar, from Nadine Labaki’s Capernaum and Matteo Garrone’s Dogman to Florian Henckel von Donnersmarck’s Never Look Away and the Cannes Palme d’Or-winning Shoplifters by Hirokazu Kore-eda. Directors in the slate include Jafar Panahi, Jia Zhang-ke, Hong Sang-soo, Olivier Assayas, Carlos Reygadas, László Nemes and Nuri Bilge Ceylan.

The lineup includes 28 titles from 27 countries. The fest runs November 8-15 and opens with the Ruth Bader Ginsburg biopic On the Basis of Sex and closes with Josie Rourke’s Mary Queen of Scots. In the mix too are a host of gala presentations featuring Bird Box, The Ballad of Buster Scruggs, Widows, Green Book and Destroyer. The latter pic will be screened as part of a tribute to its star Nicole Kidman.

Here’s the full World...

“Diamantino” is nothing less (and so much more) than the movie the world needs right now. Co-directed by Gabriel Abrantes and Daniel Schmidt, this winningly demented 21st century fairy tale centers on a beautiful, child-like soccer phenom named Diamantino who reacts to a devastating World Cup loss by adopting a Mozambican refugee who claims to be a teen boy but is actually an adult lesbian on an undercover mission from the Portuguese government to investigate a money-laundering operation run by the athlete’s evil twin sisters. Also, there’s a mad scientist who’s trying to clone Diamantino in order to create an invincible super team capable of stoking national pride and “Making Portugal Great Again.” Also, there are giant puppies. A lot of them. A litter of Pekingese the size of double-decker buses. And that’s just the basic set-up.

Unfolding like a blissful cross between Guy Maddin’s...

The New York Film Festival kicks off later this week, launching the second half of a very busy fall festival season. Each year, the New York gathering loads up on the some of the buzziest titles of an awards season in the making, but it also plays home to never-before-seen narratives and new documentaries that go beyond the usual fare. Alongside all those previously-screened features looking to capitalize on strong word-of-mouth coming out of fellow festivals Venice, Telluride, and Toronto — including “The Favourite,” “Roma,” and “If Beale Street Could Talk” — there are a variety of gems worth seeking out at this year’s festival.

Consider this your roadmap to the best of the festival. The 2018 New York Film Festival runs September 28 – October 14, and you check out the main slate right here. Ahead, 10 essential titles — from instant cult classics to highlights from the 2018 circuit and everything in between.

“Asako I & II...

The pro-European Union lobby just got the silliest, sexiest cinematic endorsement it could hope for in “Diamantino,” and that’s merely one of the surprises nested in Gabriel Abrantes and Daniel Schmidt’s deranged satire — sure to remain the freshest blast of gonzo comic energy at this year’s Cannes Film Festival. Part loopily queer sci-fi thriller, part faux-naive political rallying cry, glued together with candyfloss clouds of romantic reverie, it’s a film best seen with as little forewarning as possible: To go in blind is to be carried along by its irrational tumble of events as blissfully and buoyantly as its empty-headed soccer-star protagonist. The sheer outrageous singularity of “Diamantino” is sure to make it a hot property on the festival circuit, enrapturing and alienating audiences in equal measure; adventurous distributors will want to get in on the ground floor with a potential cult object.

Portuguese-American duo...