Festival de Cannes 2025, Young Mothers, The Mastermind and 13 Days 13 Nights

The Mastermind ©YesICannes.com

The Festival de Cannes 2025 presented Young Mothers by Jean-Pierre Dardenne & Luc Dardenne, The Mastermind by Kelly Reichardt, and 13 Days 13 Nights by Martin Bourboulon.

The Mastermind: this final day of competition featured the screening of Young Mothers (Jeunes Mères) by the Dardenne Brothers, the ninth film in competition by the “double-Palm” filmmakers, which invites the audience into maternal homes for young girls in precarious situations. The Mastermind by Kelly Reichardt features Josh O’Connor as an unemployed carpenter who turns to amateur art theft. Screened Out of Competition, 13 Days 13 Nights by Martin Bourboulon recounts the evacuation of the French embassy during the Taliban takeover in 2021.

Young Mothers ©Christine Plenus

Young Mothers, the challenges of motherhood

The brothers Jean-Pierre and Luc Dardenne need no introduction. They are emblematic figures of contemporary European cinema, renowned for their distinctive, minimalist approach and deep social commitment. Their filmography is studded with critical success, including two Palmes d’Or awards. The Dardennes’ enduring recognition at prestigious festivals such as the Cannes Film Festival not only signals their artistic quality, it also attests to the enduring relevance and universal resonance of their stories rooted in social realism. Young Mothers is one of the filmmakers’ signature works, offering a poignant and uncompromising glimpse of young people confronted with immense responsibilities. The film is a deeply moving and direct portrait of young women facing the challenges of motherhood and precariousness. Jessica, Perla, Julie, Ariane and Naïma, five teenagers with the hope of achieving a better life for themselves and their child, are housed in a maternity home that helps them in their lives as young mothers.

©Christine Plenus

The struggle for survival and dignity

With its modest budget and concise running time of 1 hour 25 minutes, Young Mothers emerges as a poignant and relentless exploration of young motherhood, resilience and the relentless pursuit of dignity in the midst of socio-economic precarity. The film reaffirms the Dardennes’ mastery of creating intimate human dramas that resonate with profound social commentary, pushing their signature style to new depths of empathy and observation. Young Mothers, their ninth film in competition, is described as a ‘return to their roots’, recalling the raw and immediate style of their earlier works, such as Rosetta. This characterisation suggests a deliberate choice to revisit the themes and aesthetic that defined their initial success. This return to their roots is not mere nostalgia, but a strategic artistic decision. Young Mothers aligns itself perfectly with this stylistic signature, focusing on a young woman’s struggle for survival and dignity.

Jeunes Mères ©YesICannes.com

A singular voice in American independent cinema

Kelly Reichardt’s work stands out as a singular voice in the landscape of contemporary American independent cinema. Her work is characterised by observational realism and a deep empathy for her characters, who are often on the fringes of society. River of Grass, Old Joy, Wendy and Lucy, Meek’s Cutoff, Night Moves, Certain Women and First Cow focus on mood, atmosphere and the interiority of the characters rather than plot-driven narratives. Reichardt’s consistent adherence to a specific aesthetic and thematic framework throughout his filmography is a deliberate artistic philosophy. Alongside British actor Josh O’Connor are Alana Haim, the revelation of Paul Thomas Anderson‘s Licorice Pizza, and Hope Davis, who also walked the Red Carpet this year for Wes Anderson‘s The Phoenician Scheme.

Young Mothers ©YesICannes.com

Complex characters

Set in 1970s America, The Mastermind focuses on the life of Mooney (Josh O’Connor), an art thief during the Vietnam War. Tired of pilfering, he and his two accomplices break into a museum in broad daylight and steal four paintings. When it proves more difficult to preserve works of art than to steal them, Mooney is reduced to a life on the run. Although more narrative than some of his earlier work, this film retains Reichardt’s trademark meticulous attention to detail, complex characters and a contemplative approach to everyday life. Reichardt uses wide shots and natural landscapes to create an atmosphere that is both peaceful and melancholy. Colours are natural, and light is used with great finesse to reflect the emotions of the characters. The actors are remarkable, especially Josh O’Connor, who embodies his character’s vulnerability and determination with touching authenticity. The dialogue, often sparse but powerful, resonates with a depth that invites reflection.

13 Jours 13 Nuits © Jérôme Prébois

The hell of Kabul

After bringing The Three Musketeers to the screen in two parts, Martin Bourboulon is inspired by the exploits of an officer in charge of evacuating the French embassy in Kabul in August 2021, as American troops leave the country, giving power to the Taliban. In the midst of the chaos, Major Mohamed Bida (Roschdy Zem) and his men provide security for the French embassy, which is still open. Caught in a trap, Major Bida decides to negotiate with the Taliban to organise a last-chance convoy with the help of Eva (Lyna Khoudri), a young Franco-Afghan humanitarian. Then begins a race against time to get the evacuees to the airport and escape the hell of Kabul before it’s too late.