New film Fatherland took Sandra Hüller back to a divided Germany. She talks about damaged dreams, Hollywood feelgood and - just maybe - appearing in the new Marvel movie

Sandra Hüller is crying, and it feels very strange. A wildly gifted actor, she can convey every human emotion there is. On screen, though, she is most often asked to embody deep self-possession. Even doing karaoke, Hüller is in control. And in real life, life is good. Her 2026 will end with four high-profile movies this year alone. Two (Fatherland and Rose) are black-and-white arthouse films that centre on her brilliance, and though one of the others (Digger) is already a Hollywood cautionary tale, a second (Project Hail Mary) was a giant $684m hit. (There may also be a fifth movie, bigger still. We will come back to that.)

And yet, dressed in film star black, she is in tears. “This is really hard for me,” she says.

Cannes film festival: Hanns Zischler stars as Thomas Mann on his 1949 tour of Germany, contending with political barbs, personal tragedy and his daughter, played by an extraordinary Hüller

Here is an impossibly elegant, poised historical vignette whose brevity and control can hardly contain its characters’ personal and historical pain. It is directed and co-written by the Polish film-maker Paweł Pawlikowski and shot in lustrous monochrome by Lukasz Zal; it is a film about exile and betrayal, the impossibility of going home and of reconciling an artist’s children to their secondary importance.

The setting is 1949 and the celebrated German novelist and Nobel laureate Thomas Mann – who fled the Nazis before the war for California exile and US citizenship – has returned home, first visiting Frankfurt (now in West Germany) to receive an award named after Goethe, whose birthplace this is. It is Goethe’s enlightened civilised wisdom and apolitical artistry Mann will pointedly evoke in his many elaborate speeches.

The 79th edition of the film festival will see work by Pedro Almodóvar, Hirokazu Kore-eda and László Nemes considered for the coveted Palme d’Or

Gillian Anderson, Rami Malek, Cara Delevingne and John Travolta are expected to walk the red carpet at Cannes this year, as the world’s most influential film festival unveiled an auteur-heavy lineup for its 79th edition.

Competing for the coveted Palme d’Or will be new films by heavyweights Pedro Almodóvar, Hirokazu Kore-eda, Paweł Pawlikowski, László Nemes and Asghar Farhadi.

A vivid account of the creation of one of literary modernism’s greatest achievements

In a 1924 letter to André Gide, Thomas Mann said he would soon be sending along a copy of his new novel, The Magic Mountain. “But I assure you that I do not in the least expect you to read it,” he wrote. “It is a highly problematical and ‘German’ work, and of such monstrous dimensions that I know perfectly well it won’t do for the rest of Europe.”

Morten Høi Jensen’s approachable and informative study of The Magic Mountain positions Mann as a writer who was contradictory to his core: an artist who dressed and behaved like a businessman; a homosexual in a conventional marriage with six children; an upstanding burgher obsessed with death and corruption. Very much the kind of man who would send someone a book and tell them not to read it.

Der norwegische Karikaturist war jahrzehntelang mit spitzer Feder im „Simplizissimus“ gegen politische Extremisten zu Felde gezogen.  Dann kam Hitler an die Macht. Olaf Gulbranssons Reaktion beschäftigt bis heute die Sachwalter seines künstlerischen Erbes.

Alles nur geträumt? In ihrer Auftragsarbeit für das Bamberger ETA Hoffmann Theater erzählt die junge Dramatikerin Paula Kläy Thomas Manns Hochstapler-Geschichte als cleveres Vexierspiel.