It’s the end of the world and the Cannes Film Festival does not feel fine

CANNES, France (AP) — “Is this what the end of the world feels like?”

So asks a character in one of the most-talked about films of the 78th Cannes Film Festival: Oliver Laxe’s “Sirât,” a Moroccan desert road trip through, we come to learn, a World War III purgatory.

It’s well into “Sirât,” a kind of combination of “Mad Max” and “The Wages of Fear,” that that reality begins to sink in. Our main characters — Luis (Sergi López) and his son Esteban (Brúno Nuñez) — have come to a desert rave in search of Luis’ missing daughter. When the authorities break it up, they join up with a bohemian troupe of ravers who offroad toward a new, faraway destination.

Thumping, propulsive beats abound in “Sirât,” not unlike they do at Cannes' nightly parties. In this movie that jarringly confronts the notion of escape from harsh reality, there are wild tragedies and violent plot turns. Its characters steer into a nightmare that looks an awful lot like today’s front pages.

“We wanted to be deeply connected to this day and age,” Laxe said in Cannes.

As much as Cannes basks in the Côte d’Azur sunshine, storm clouds have been all over its movie screens at the festival, which on Monday passed the halfway point. Portents of geopolitical doom are everywhere in a lineup that’s felt unusually in sync with the moment. Tom Cruise, in “Mission: Impossible – Final Awakening,” has battled the AI apocalypse. Raoul Peck, in “Orwell: 2 + 2 = 5,” has summoned the author’s totalitarianism warnings for today. Even the new Wes Anderson (“The Phoenician Scheme”) is about an oligarch.

If the French Riviera has often served as a spectacular retreat from the real world, this year’s Cannes abounds with movies urgently reckoning with it. It’s probably appropriate, then, that many of those films have been particularly divisive.

“Sirât” is laudable for its it's-time-to-break-stuff attitude to its characters, even if that makes for a sometimes punishing experience for the audience. This is a love-or-hate-it movie, sometimes at the same time.

Ari Aster’s “Eddington,” perhaps the largest American production in recent years to sincerely grapple with contemporary American politics, was dismissed more than it was praised. But for a good while, “Eddington” is breathtakingly accurate in its depiction of the United States circa 2020.

In “Eddington,” the conservative, untidy sheriff Joe Cross (Joaquin Phoenix) runs for mayor against the liberal incumbent, Ted Garcia (Pedro Pascal), partly over disagreements on mask mandates. But in Aster’s small-town satire, both left and right are mostly under the sway of a greater force: social media and a digital reality that can wreak havoc on daily lives.

“I wrote this film in a state of fear and anxiety about the world,” Aster said in Cannes. “I wanted to try and pull back and just describe and show what it feels like to live in a world where nobody can agree on what is real anymore.”

It’s been striking how much this year’s Cannes has been defined by anxious, if not downright bleak visions of the future. There have been exceptions — most notably Richard Linklater’s charming ode to the French New Wave “Nouvelle Vague” and Anderson’s delightful “The Phoenician Scheme.” But seldom has this year’s festival not felt like an ominous big-screen reflection of today.

That’s been true in the overall chatter around the festival, which got underway with the new threat of U.S. tariffs on foreign-produced films on the minds of many filmmakers and producers. Rising geopolitical frictions led even the typically very optimistic Bono, in Cannes to premiere his Apple TV+ documentary “Bono: Stories of Surrender,” to confess he had never lived at a time where World War III felt closer at hand.

Other films in Cannes weren’t as overtly about here and now as “Eddington,” but many of them have been consumed with the recurring traumas of the past. Two of the most lauded films from the beginning of the festival — Mascha Schilinski’s “Sound of Falling” and “Two Prosecutors,” by the Ukrainian filmmaker Sergei Loznitsa — contemplated intimate cases of history repeating itself.

“Two Prosecutors,” set in Stalin’s Russia, captures the slow-moving crawl of bureaucratic malevolence by adapting a story by the dissident author and physicist Georgy Demidov, who spent 14 years in the gulag. Loznitsa said his film is “not a reflection of the past. It’s a reflection of the present.”

In the period political thriller “The Secret Agent,” Brazilian filmmaker Kleber Mendonça Filho turns to not a real historical tale but a fictional one, set in 1977 during Brazil’s military dictatorship.

Wagner Moura brings a natural movie-star cool to the role of Marcelo, a technology expert returning to his hometown of Recife where government corruption is rife and hitmen are on his tail. Vividly textured, with absurdist touches (the hairy leg of a corpse plays as a colorful metaphor for the dictatorship), “The Secret Agent” seeks, and sometimes finds, its own logic of political resistance.

“I really believe that some of the most heartfelt texts come not necessarily from fact but from the logic of what is happening,” Filho said in an interview. “Right, now the world seems to be running on some kind of new logic. Ten or 15 years ago, some of these ideas would be completely dismissed, even by the most conservative politicians. I think ‘The Secret Agent’ is a film full of mystery and intrigue but it does seem to have a certain logic which I associate with my country, Brazil.”

In nonfiction filmmaking, no one may be better today than Peck (“I Am Not Your Nego,” last year’s “Ernest Cole: Lost and Found” ) in connecting historical dots. “Orwell: 2 + 2 = 5” marries George Orwell’s words (narrated by Damian Lewis) on totalitarian states that demand “the disbelief of objective truth” with the actions of contemporary governments around the world, including Russia, Myanmar and the United States. Images of a bombed-out Mariupol in 2022 runs with its official description: “Peacekeeping operations.”

It’s not just geopolitical tremors quaking on movie screens in Cannes. Climate change and natural disasters are on the minds of filmmakers, too, sometimes in the most unlikely of movies.

The French animated film “Arco,” by illustrator Ugo Bienvenu, is about a boy from the distant future who lives on a “Jetsons”-like platform in the clouds. He travels back in time to another future-time, 2075, where homes are bubbled to protect them from fire and storm, and robots do all of the parenting for working parents who appear to their children only as digital projections.

It’s a grim future, particularly so because it feels quite plausible. But the strange charm of “Arco,” a brightly colored movie with a whole lot of rainbows, is that is offers a younger generation a dream of a future they might make. A relationship between the boy from the future and a girl who finds him in 2075 sparks not just a friendship but a nourishing vision of what’s possible.

“Arco,” in that way, is a reminder that the most moving movies about our current doom offer a ray of hope, too.

“People are feeling disenchanted with the world, so we have to re-enchant them,” said Laxe, the “Sirât” director. “Times are tough but they’re very stimulating at the same time. We’ll have to look deeply into ourselves. That’s what we’re forced to do because it’s a tough world now.”

Jake Coyle has covered the Cannes Film Festival since 2012. He’s seeing approximately 40 films at this year’s festival and reporting on what stands out.

For more coverage of the 2025 Cannes Film Festival, visit: https://apnews.com/hub/cannes-film-festival

Zoey Deutch, from left, director Richard Linklater, Michele Halberstadt and producer Laurent Petin pose for photographers upon arrival at the premiere of the film 'Nouvelle Vague' at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (Photo by Joel C Ryan/Invision/AP)

Pedro Pascal, from left, director Ari Aster and Joaquin Phoenix pose for photographers at the photo call for the film 'Eddington' at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (Photo by Scott A Garfitt/Invision/AP)

Stella Maxwell poses for photographers upon arrival at the premiere of the film 'The Phoenician Scheme' at the 78th international film festival, Cannes, southern France, Sunday, May 18, 2025. (AP Photo/Natacha Pisarenko)

Producer Lucas Schmidt, from left, producer Maren Schmitt, Luzia Oppermann, Laeni Geiseler, Susanne Wust, from sixth left, Hanna Heckt, director Mascha Schilinski, Lena Urzendowsky, Lea Drinda, Luise Heyer, writer Louise Peters and cinematographer Fabian Gamper pose for photographers upon arrival at the premiere of the film 'Sound of Falling' at the 78th international film festival, Cannes, southern France, Wednesday, May 14, 2025. (Photo by Lewis Joly/Invision/AP)

Bono poses for photographers at the photo call for the film 'Bono: Stories of Surrender' at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (Photo by Scott A Garfitt/Invision/AP)

Director Oliver Laxe, from left, Bruno Nunez, and Sergi Lopez pose for photographers at the photo call for the film 'Sirat' at the 78th international film festival, Cannes, southern France, Friday, May 16, 2025. (Photo by Lewis Joly/Invision/AP)

Director Wes Anderson poses for portrait photographs for the film 'The Phoenician Scheme' at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (Photo by Scott A Garfitt/Invision/AP)

Bono poses for photographers at the photo call for the film 'Bono: Stories of Surrender' at the 78th international film festival, Cannes, southern France, Saturday, May 17, 2025. (Photo by Joel C Ryan/Invision/AP)

Tom Cruise poses for photographers upon arrival at the premiere of the film 'Mission: Impossible - The Final Reckoning' at the 78th international film festival, Cannes, southern France, Wednesday, May 14, 2025. (Photo by Joel C Ryan/Invision/AP)

LOS ANGELES (AP) — Luka Doncic will miss the rest of the Los Angeles Lakers' regular season with a Grade 2 strain of his left hamstring, the team announced Friday.

Doncic is the NBA's top scorer and the driving force behind the Lakers' surge into the third spot in the Western Conference standings, but he injured his leg during Los Angeles' blowout loss in Oklahoma City on Thursday. An MRI exam revealed the severity of the strain.

The Pacific Division champion Lakers (50-27) have just five games left before the postseason, starting Sunday at Dallas.

Grade 2 hamstring strains sometimes require several weeks of recovery, but Doncic also has prior experience with hamstring issues. He missed four games right before the All-Star break with another left hamstring strain, but returned to the lineup after the break.

Doncic is putting up spectacular numbers in his first full season with the Lakers, who acquired the Slovenian superstar from the Mavericks last season. He is averaging 33.5 points, 8.3 assists and 7.7 rebounds per game for Los Angeles, and he was named the NBA's Western Conference player of the month for March after racking up 13 consecutive 30-point performances, including seven 40-point games, a 51-point barrage against Chicago and a 60-point masterclass in Miami.

Doncic scored a whopping 600 points in March, becoming only the 10th player in NBA history to hit that mark in one month. While LeBron James and Austin Reaves have also played well down the stretch, the Lakers thoroughly depend on Doncic, who either scored or assisted on 58% of the their total points in March.

Doncic is all but certain to win his second NBA scoring title — but he has played in only 64 games this season, which means he will finish one game shy of the 65-game threshold to be eligible for the NBA's biggest postseason awards.

He was a lock to be an All-NBA selection, and he had even been making a late run at consideration for the MVP award with his outstanding play down the stretch.

Along with his two absences caused by hamstring injuries and a handful of additional absences for minor medical maintenance early in the season, Doncic missed two games last December while flying to Slovenia for the birth of his second child. He also missed one game last week under suspension for accumulating 16 technical fouls.

Since he sits just shy of the 65-game threshold, Doncic theoretically could challenge the rule by citing the extraordinary circumstances of his daughter's birth in Europe through the grievance process created for these collectively bargained rules. It's wholly unclear whether that appeal would have any chance of success.

If Doncic wins the scoring title but doesn't make the All-NBA teams, he would be only the third scoring champ in league history to fail to do so. Elvin Hayes wasn't selected when he won the crown as a rookie in 1969, and Bob McAdoo wasn't chosen for the teams in 1976.

Lakers coach JJ Redick said Doncic was injured in the first half against the Thunder, but was cleared to return to the game while his team was getting plastered by the defending NBA champion Thunder. Doncic lasted only about four minutes before he spun, stopped and went down on the court in pain, leading to his departure.

The loss was only the Lakers' third in 19 games since Feb. 26, but Doncic's absence casts a cloud of uncertainty over the rest of their year. Los Angeles only leads fourth-place Denver (49-28) by one game, while sixth-place Minnesota (46-30) is 3 1/2 games back with a game in hand.

The Lakers’ regular-season finale is next Sunday, April 12, at home against Utah. Their first-round playoff series is expected to start the following weekend.

AP Basketball Writer Tim Reynolds contributed to this report.

AP NBA: https://apnews.com/NBA

Los Angeles Lakers forward/guard Luka Dončić (77) drives against Oklahoma City Thunder guard Cason Wallace (22) during the first half of an NBA basketball game Thursday, April. 2, 2026, in Oklahoma City. (AP Photo/Gerald Leong)

Los Angeles Lakers guard Luka Doncic (77) gestures after a three-point basket against the Indiana Pacers during the first half of an NBA basketball game in Indianapolis, Wednesday, March 25, 2026. (AP Photo/Michael Conroy)

Los Angeles Lakers guard Luka Doncic (77) is fouled by Orlando Magic center Wendell Carter Jr. (34) as Magic forward Tristan da Silva, right, helps defend during the first half of an NBA basketball game, Saturday, March 21, 2026, in Orlando, Fla. (AP Photo/Phelan M. Ebenhack)