Coward

I always look forward to seeing LGBTQ+ stories represented within the Official Selection at Cannes. Beyond questions of representation itself, there is something important about seeing directors openly explore themes of identity, intimacy and social pressure within one of the most visible spaces in world cinema. It becomes even more exciting when the filmmaker has already demonstrated a distinctive and emotionally sensitive voice.

This year, Lukas Dhont returns to Cannes with his third feature film, Coward. Remarkably, each one of his previous films shown at the festival has received major recognition. His debut, Girl, premiered in Un Certain Regard in 2018, where it won the Best Performance and the Caméra d’Or for Best First Feature. The film immediately caught my attention after reading the early reactions from Cannes: the story of a young trans girl pursuing ballet while undergoing gender transition already suggested a difficult and emotionally charged subject for a debut film.

What impressed me most about Girl was not simply its subject matter, but the way Dhont approached it. The protagonist is not rejected by her father; instead, the tension comes from society itself, from the looks, expectations and invasive curiosity surrounding her. The film carefully portrays how isolation can emerge even when support exists at home. As a queer person, I strongly connected with that feeling: the difficulty is not always direct rejection, but the exhausting awareness of constantly feeling different from what society expects people to be. Dhont captures the vulnerability of wanting acceptance while simultaneously struggling to understand your own place in the world.

Because of the impact Girl had on me, Close became one of my most anticipated films of 2022. The film premiered in competition at Cannes and won the Grand Prix. I have to admit that my expectations may have been too high. While I admired the emotional precision and structure of the first half, the second part felt colder to me and did not affect me as deeply as his debut feature did. Nevertheless, I remained interested in Dhont’s exploration of masculinity and emotional intimacy through the story of two young boys whose friendship becomes disrupted by the pressure and judgment of their classmates. Once again, Dhont examined how social expectations shape the way people express affection and vulnerability.

Now, with Coward, Dhont returns with what could become one of the major contenders of the festival. Set during the First World War, the film follows soldiers involved in theatrical performances designed to entertain troops, with a particular focus on gender performance through costumes, dresses and staged identities. The premise already suggests a continuation of Dhont’s interest in emotional repression, identity and the tension between performance and authenticity.

Even if Close did not fully meet my personal expectations, I continue to anticipate Dhont’s work because few contemporary directors approach vulnerability and identity with such sincerity. The idea of a gay filmmaker openly exploring these themes within large international productions and major festivals like Cannes remains significant, especially at a moment when questions surrounding identity, masculinity and self-expression continue to shape contemporary cinema and society alike.