Every May, the French city of Cannes turns into the centre of global cinema. Directors, actors, producers and critics gather at the Cannes Film Festival, one of the world’s most influential film events. But beyond the red carpet photos and celebrity appearances, Cannes is really about films that push storytelling in new directions.
And in 2026, India has a visible presence at the festival again. Six Indian films are either premiering or screening across different sections of Cannes this year.
So how does a film actually get selected for Cannes? And why do Cannes films often feel very different from the commercial films dominating Indian theatres?
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First, What Even Is Cannes?
The Cannes Film Festival began after World War II as an alternative to film festivals influenced by political propaganda. Over the decades, it became a major global platform for cinema.
Today, filmmakers from across the world submit their films to Cannes hoping to enter categories like the Main Competition, Un Certain Regard, La Cinef, Critics’ Week or Directors’ Fortnight.
But getting selected is extremely difficult.
According to Backstage, Cannes receives nearly 2,000 film submissions every year. Out of those, only around 50 feature films and 10 short films make it into the official selection.
That means the festival is highly curated. Every film goes through a selection committee that watches submissions and decides which projects match Cannes’ artistic standards.
So What Does The Cannes Film Festival Actually Look For?
Cannes usually prefers films that take creative risks.
That does not always mean “slow cinema” or abstract storytelling. But the festival often values films that experiment with structure, emotion, politics, identity, memory or visual language.
Many selected films also focus heavily on the director’s personal voice.
For example, this year’s Indian selections include stories about loneliness, caregiving, labour, survival and social pressure.
FTII student filmmaker Mehar Malhotra’s Punjabi short Shadows of the Moonless Night follows a factory worker struggling with exhaustion and isolation. It was selected for La Cinef, the Cannes section focused on emerging filmmakers.
Another title, September 21, explores Alzheimer’s, family tension and caregiving during the pandemic.
Even restored classics can get selected. Malayalam filmmaker John Abraham’s 1986 film Amma Ariyan is screening in Cannes Classics after being restored in 4K.
These are not films built mainly around opening weekend box office numbers. They are films built around perspective.
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Why Cannes Films Feel Different From Mainstream Indian Cinema
Mainstream Indian films are usually designed for wide theatrical audiences. That means bigger stars, songs, action, comedy and stories structured around entertainment value.
Cannes films often work differently.
They are usually more director-driven than star-driven. Many focus on smaller emotional details instead of large plot twists. Silence, atmosphere and realism matter more.
That is why a Cannes-selected film may not always look “commercial” by Bollywood standards.
For instance, a mainstream Hindi release may aim for pan-India theatrical success. A Cannes film may instead aim for international festival circulation, streaming deals or critical recognition.
This difference also affects pacing.
Commercial Indian films are often expected to move fast and constantly entertain. Festival films can spend more time observing characters, relationships or social realities.
That does not make one format better than the other. They simply serve different audiences and goals.
Interestingly, this gap has started shrinking in recent years.
Films like All We Imagine As Light by Payal Kapadia and documentaries like All That Breathes found global recognition while still connecting with younger Indian audiences online.
Streaming platforms have also changed viewing habits. Younger viewers today are more open to slower, experimental and regional storytelling than previous generations.
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India’s Presence At Cannes 2026
This year, six Indian films are screening or premiering at Cannes across different sections.
These include:
Shadows of the Moonless Night
Balan: The Boy
Chardikala
Amma Ariyan
Spirit Of The Wildflower
September 21
The selections represent multiple languages including Punjabi, Malayalam, Hindi and Kannada.
Some are student projects. Some are documentaries. Some are restored classics.
That diversity matters because Cannes is increasingly becoming a space where Indian regional cinema gets global visibility beyond Bollywood.
And while not every Cannes film becomes a box office success, the festival still shapes global conversations around cinema. Winning or premiering there can help films secure international distribution, streaming deals and future funding opportunities.
For younger Indian filmmakers, Cannes is not just about glamour anymore. It is becoming proof that local stories can travel globally without changing their identity.
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