"The Director's Fortnight sidebar of the Cannes Film Festival has become a target of debate in recent years, sometimes viewed as "the films that didn't get into the main Cannes program." While it may be true for a few films, there's a lot of quality in DF, not only exemplified by the excellent clip reel of films that have played in this program over the years but just last year in a diverse slate that included standouts like " Miroirs No. 3," " Yes," and " Dangerous Animals.""
"Let's start at the top with Arie and Chuko Esiri's confident "Clarissa," a film with a tender, sensual visual language that also boasts some heady ideas about the ripple effect of colonialism. Working from the narrative of Virginia Woolf's Mrs. Dalloway, the directors of " Eyimofe: This is My Desire " deftly navigate multiple character arcs across two time periods, not only never losing the emotional and intellectual threads of the piece but enhancing them through their craft."
"They're also phenomenal directors of performance, guiding an ensemble that will surely be among my favorites of the year. There's not a false note from a single cast member, from the ones you recognize to the new faces. Sophie Okonedo (also so great in the upcoming "Mouse") plays Clarissa, a wealthy women in a conflicted Nigeria, where violence breaks out daily but far away from her palatial Lagos estate."
"That's where she plans to host a party, and much of "Clarissa" sees her ordering her staff around to make sure it goes off perfectly. While the party is being prepared, familiar faces spring back into Clarissa's life, including the deeply melancholic Peter"
Director’s Fortnight at Cannes has faced criticism as a place for films that miss the main program, but it has consistently offered strong work. Recent slates include standout titles such as Miroirs No. 3, Yes, and Dangerous Animals, supported by a history of notable clip reels. The 2026 lineup includes a subtle drama already acquired by Neon, and additional early standouts. Clarissa, directed by Arie and Chuko Esiri, adapts Mrs. Dalloway and follows multiple character arcs across two time periods. The film uses tender, sensual visuals and examines the ripple effects of colonialism. Sophie Okonedo leads as Clarissa, a wealthy woman in conflicted Nigeria, while the ensemble delivers uniformly compelling performances.
Read at Roger Ebert
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