Huma Qureshi heads to Cannes 2026 after making waves at TIFF and BIFF with Bayaan

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Huma Qureshi is all set to return to the prestigious Cannes Film Festival, adding another milestone to her steadily growing international journey. Over the years, the actor has built a strong reputation for balancing mainstream cinema with content-driven performances, and her Cannes 2026 appearance further highlights her expanding global footprint. Having attended Cannes previously as well, Huma has consistently represented Indian cinema on international platforms through her unconventional film choices and impactful performances. Whether it was her breakthrough role in Gangs of Wasseypur or critically appreciated performances in projects like Maharani, Monica O My Darling, Tarla and Leila, the actor has continuously backed stories that stand apart. She also expanded her global reach with Army of the Dead, directed by Zack Snyder. Last year proved to be particularly significant for Huma on the international front. The actor attended both the Toronto International Film Festival and the...
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Club Zero review – not much to chew on in this baffling non-satire

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Jessica Hausner’s film, which avoids spelling out its obvious subject, focuses on a group of schoolgirls encouraged to live without food

Jessica Hausner is the Austrian director whose elegant, refrigerated style has made her a Cannes favourite and her 2009 film Lourdes, about the ordinary world of miracles, is a 21st-century classic. But her recent move to English-language movies has resulted in some nebulous work in the shape of her 2019 picture Little Joe, and so it has proved again with this exasperating and baffling movie.

Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption. The “trigger warning” at the beginning of the film about these issues is fatuous, whether intended ironically or not. The deadpan mannerisms are glib, the line readings are torpid in the wrong way and the laborious drama leads us round and round and round like an Escher staircase. But it is certainly well shot by Martin Gschlacht and punctiliously designed by Beck Rainford.

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