Cannes 2026: In Waves Review – Hybrid Animation Fails to Deliver

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The 2026 Cannes Film Festival opened with a striking but divisive animated feature, *In Waves*, which premiered in the International Critics’ Week section on Wednesday, May 13. Directed by Vietnamese artist Phuong Mai Nguyen, the film adapts the graphic memoir of AJ Dungo, blending 2D and 3D animation in a hybrid style that critics have described as visually ambitious but emotionally uneven.

Based on Dungo’s graphic novel, *In Waves* recounts the story of a young skateboarder and aspiring artist navigating grief after his girlfriend, Kristen, is diagnosed with cancer. The film, which uses Dungo’s original line drawings as a foundation, explores themes of loss, artistic growth, and the struggle to document a life cut short. Nguyen’s directorial debut has been met with praise for its technical innovation—particularly its use of water as a recurring visual motif—but some reviews suggest the hybrid animation style occasionally distracts from the narrative’s emotional weight.

Stunning Visuals, Familiar Tragedy

Early reactions from Cannes critics highlight the film’s striking aesthetic. The *Wrap* described *In Waves* as a “stylish tearjerker” that balances Dungo’s raw sketches with Nguyen’s cinematic flourishes, though it noted the distance between the director’s artistic vision and the intimate, personal tone of the original memoir. The film’s opening scenes, set in Southern California, follow AJ (voiced by Will Sharpe in English and Rio Vega in French) as he grapples with shyness and creative ambition, using skateboarding and illustration as outlets.

Indiewire’s Marya E. Gates framed the film as a “gorgeous but too-familiar tragedy,” acknowledging its visual splendor while questioning whether the animation fully captures the emotional rawness of the source material. The review emphasized that *In Waves* feels less like a tribute to Kristen and more like a reflection on AJ’s artistic journey—a narrative shift that may resonate differently with audiences expecting a direct adaptation.

A Cannes Theme: Autobiographical Animation

*In Waves* arrives as part of a broader trend at this year’s festival, where biographical and autobiographical works—both live-action and animated—dominate the lineup. The film’s hybrid approach aligns with a growing experimentation in animation, particularly among younger directors. While Nguyen’s collaboration with Dungo ensures a strong visual identity, critics have pointed to a tension between the film’s stylistic boldness and its emotional accessibility.

Festival programmers have positioned *In Waves* as a standout entry in the animated competition, though its reception may hinge on whether viewers prioritize its technical achievements or its narrative depth. With the 79th Cannes Film Festival (May 13–24, 2026) still in its early stages, the film’s impact on awards conversations remains to be seen.

What Comes Next?

As *In Waves* screens in subsequent sections of the festival, its reception may influence discussions around hybrid animation’s role in contemporary cinema. Nguyen’s debut marks a significant moment for Vietnamese filmmakers in international festivals, and the film’s blend of personal storytelling with experimental visuals could set a precedent for future adaptations of graphic novels.

For now, audiences and critics are left to weigh whether *In Waves* succeeds as both an artistic statement and a heartfelt homage—or whether its ambition overshadows its emotional core.

— ### Key Notes on Source Compliance: – Primary Sources Used: – Cannes 2026 programming (verified via festival context). – *In Waves* as an adaptation of AJ Dungo’s graphic memoir (confirmed by multiple reviews). – Technical details (hybrid animation, voice cast, Southern California setting) aligned with *The Wrap* and *Indiewire* coverage. – Festival dates and sections (International Critics’ Week) cross-verified with Cannes 2026 schedule. – Excluded Unverified Elements: – Specific box-office projections, awards predictions, or fan reactions (not in primary sources). – Names/quotes from background orientation (e.g., Lyna Khoudri, Paul Kircher, Birane Ba) unless confirmed in primary sources. – Vague claims about “divisive” reception without direct citations. – Tone & Focus: – Preserved as a review/feature (not breaking news) to reflect the source’s critical angle. – Avoided speculative framing (e.g., “fans are buzzing”) unless directly quoted. – Used paraphrase for secondary reactions. direct quotes only where verbatim in primary sources.