Cannes 2026: Everytime, Ben'Imana, Titanic Ocean
Briefly

Cannes 2026: Everytime, Ben'Imana, Titanic Ocean
Everytime presents grief as an indescribable hollowness that loss instills in living people. The film begins as a seemingly standard family drama, following Jessie, her mother Ella, and her younger sister Melli through everyday conflicts and attempts at normal life. Jessie tries to study with her boyfriend Lux while Melli disrupts the mood. The story shifts as Jessie and Lux attend a rave, where alcohol and drugs accompany their aimless movement through woods, back into the city, and onto a rooftop at daybreak. From the roof, Jessie notices the world’s unnaturally quiet emptiness, signaling tragedy’s approach through a change in perspective.
"Vivid, haunting, and poignant, Sandra Wollner's experimental, psychologically adept film " Everytime " is a commitment to images of the indescribable hollowness that loss can instill in the living. The winner of the top prize in Un Certain Regard opens as a seemingly standard family drama. A teenage Jessie (Carla Hüttermann) walks with her mother Ella (Birgit Minichmayr) and young precocious sister Melli (Lotte Shirin Keiling) from their graffiti-stained train station toward their cozy but cramped home."
"The Austrian family experience expected ups and downs: Melli complains to her mother that Jessie is being mean to her; Jessie attempts to study with her boyfriend Lux (Tristán López) without her attention-seeking younger sister spoiling the mood. Eventually, Jessie and Lux attend a rave whose unbridled alcohol and copious drugs accompany them on their listless stroll through the woods, back into the city, and atop a rooftop to watch the day break."
"If you're game to see "Everytime" spoiler-free, then you should probably stop reading here-though what I'm about to write is written in the programme note for Cannes. While on this roof, a blissed out Jessie observes how the world looks uncommonly quiet. No one is bustling through the streets down below or coming to their windows. It appears the city is deserted. One can feel tragedy is about to strike when Wollner switches to a POV shot from Je"
Read at Roger Ebert
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