Nothing prepared me for when Cannes runtimes started feeling like full-time jobs.
There's a quiet revolution unfolding at this year's Cannes—and no, it's not another TikTok ban. It's the sheer length of the films. Ari Aster's upcoming psychological epic, Eddington, clocks in at a weighty 148 minutes (2 hours and 28 minutes)—a move that might seem daring until you realize it's practically the new normal.
Compared to Aster's past marathons (Hereditary at 127 minutes, Midsommar at 147 minutes, and Beau Is Afraid sprawling across a punishing 179 minutes), Eddington fits snugly into his well-worn blueprint of emotional endurance tests disguised as cinema. But this year, he's not alone in playing the long game. Titles like The Sound of Falling (2h39) and The Secret Agent (2h40) are pushing past the traditional 2-hour comfort zone—without apology.
Meanwhile, directors like Wes Anderson and the Dardennes are keeping things tight at around 100 minutes, almost feeling like the rebellious ones now. (When Wes Anderson is the punk rocker of pacing, you know something's shifted.)
Here's the uncomfortable truth:
Long runtimes at Cannes aren't accidents—they're statements. And they're getting louder.
Why Longer = Louder
Historically, Cannes has been a temple for audacious storytelling. But over the past decade, the festival's “best of” lists have slowly but surely bloated like an unchecked Word doc. Remember Blue Is the Warmest Color (179 minutes) winning the Palme d'Or in 2013? Or how Shoplifters and Parasite both danced around the 2-hour mark in their triumphs?
It's not that length guarantees greatness—it's that sprawling narratives now seem like a badge of seriousness. In a world where TikTok edits everything into 20-second micro-dramas, maybe these directors are fighting back the only way they know how: by making movies that refuse to be rushed.
Still, there's a fine line between ambition and indulgence. Beau Is Afraid proved even die-hard Aster fans have a breaking point. And if Cannes films keep inflating like movie-buff balloons, the prestige might eventually start to pop.
A New Pattern—Or a Cannes Mirage?
What's different this year isn't just the number of long films—it's how central they are to the competition conversation. With buzz already swirling around Resurrection (Bi Gan's rumored 2.5-hour mystery) and Lynne Ramsay's unfinished Die, My Love, Cannes 2024 looks like it's embracing endurance tests as a feature, not a bug.
Compare that to 2014, when Winter Sleep (196 minutes) took home the Palme but sparked enough complaints to fill a French novel. Today? Aster's 2.5-hour fever dream barely raises an eyebrow. Progress—or just fatigue?
One thing's clear:
If you're heading to Cannes this year, pack a cushion. Maybe two.
🎬 Cannes 2025 Competition Films & Runtimes
- The Phoenician Scheme – 1h41
- Nouvelle Vague – 1h45
- Young Mothers – 1h45
- La Petite Dernière – 1h46
- Sirat – 1h55
- Dossier 137 – 1h56
- Fuori – 1h57
- Two Prosecutors – 1h57
- Renoir – 2h
- Eagles of the Republic – 2h05
- Alpha – 2h08
- Sentimental Value – 2h12
- Eddington – 2h28
- Sound of Falling – 2h39
- The Secret Agent – 2h40
Please note that some film runtimes are still pending official confirmation. For the most accurate and up-to-date information, refer to the official Cannes Film Festival website.
Would you sit through a 3-hour fever dream if it meant witnessing history? Drop your Cannes survival tips below.
