I’ll be the primary to confess that I had little religion in Mubi’s ascendancy till fairly lately. When it launched in 2009, it appeared like a candy little concept—a streaming service for arthouse film geeks! —that was doomed to obscurity. I believed it could be one for folks of their 20s who suppose they’re extra into movie than they really are and would inevitably cancel their membership after they notice they’re extra excited in regards to the new Reacher season that is about to reach on Amazon Prime Video. After which, because the years have worn on, the little streamer that might has continued to show its would possibly, largely by way of good style. Round 2016, Mubi started buying distribution rights for movies like Luca Guadagnino’s balletic horror Suspiria and final yr’s equally unsettling physique horror The Substance, which very almost received Demi Moore her first Oscar. Slowly however certainly, its clout grew.
Quick-forward to 2025, and Mubi goes toe-to-toe with main powerhouses of indie cinema. Alongside the buzzier likes of A24 and Neon (which picked up its sixth consecutive Palme d’Or for It Was Simply an Accident), the little streamer that might was ever-present on the competition, and left on a excessive that not even mediocre evaluations for the Paul Mescal and Josh O’Connor-led romance The Historical past of Sound may quash. Not solely did it arrive with UK distribution rights for Sentimental Worth, Joachim Trier’s ridiculously acclaimed household drama that received the second-longest standing ovation in Cannes historical past (19! Minutes!), they left with among the fest’s best-reviewed movies, together with Lynne Ramsay’s Die My Love, each of the joint-winners of the Jury Prize in The Sound of Falling and Sirat, in addition to choose worldwide rights to It Was Simply an Accident. On prime of this, the primary film that Mubi has totally produced and financed by itself—The Mastermind, a Kelly Reichardt heist film starring Josh O’Connor and Alana Haim— went down very properly with critics.
I used to be in Cannes for a few days throughout week one, and received to see Die My Love and The Sound of Falling in rapt screening rooms. The previous is a superbly shot descent into post-partum psychosis anchored by an unimaginable Jennifer Lawrence efficiency. Alongside her, Robert Pattinson can be nice as a gormless however loving husband who has no concept the best way to cope with her sickness. It is received a disconcerting quantity of similarities to Darren Aronofsky’s Mom! during which Lawrence additionally starred, although Die My Love is way extra restrained. Like all nice Cannes movies, although, it wasn’t universally beloved: as I walked out of the screening having totally loved myself, I heard an viewers member name it “insufferable”. Motion pictures!
Alternatively, The Sound of Falling—Mascha Schilling’s slow-burn about 4 women from totally different time durations dwelling in the identical German farmhouse—left me extraordinarily bored, although I can see why folks with just a little extra artsy style than I—just like the rather more cine-literate Cannes jury, which consisted of the good Jeremy Sturdy, Juliette Binoche and Halle Berry—liked it. It has an impressionistic magnificence to it, that is for positive.
Contemplating how flat among the most-anticipated movies of the competition fell—together with A24’s way-too-soon Covid film Eddington, which I can let you know firsthand is a slog—Mubi’s efficiency at Cannes feels genuinely spectacular. And consequently, Mubi goes to be the place to look at a big handful of one of the best films due out within the subsequent twelve months. So, whereas it pains us to say this, it’s certainly time to subscribe to a different streaming service. Sorry!
This story initially appeared in British GQ.
