The 2026 Cannes film festival comes to an end with an uneasy consensus that this has very much not been a vintage year. It’s a Cannes ordinaire.There has even been some dark muttering from older veterans about comparing 2026 to the dreaded 2003 Cannes, the year of Vincent Gallo’s epically embarrassing erotic road movie The Brown Bunny.Was the Cannes cocktail missing one vital ingredient … the sparkle of Hollywood?Well, the glitzy Hollywood films of previous years, like Mission: Impossible or Elvis, all tended to be out of competition. Their presence or absence wouldn’t make any difference to the glittering prizes at the end.But there’s no doubt about it. A really big A-lister studio picture wouldn’t have come amiss in the official selection somewhere. Are the studios really so scared of snarky Cannes reviews spoiling their big movies’ PR gameplan? Are they really petrified of Rotten Tomatoes and its fatuous and meaningless percentage score? Maybe.In any case, the Tinseltown no-show wasn’t the trouble with Cannes in 2026. The real problem was with the big auteurs: those protected silverback gorillas of world cinema who can be relied upon to show up on the Croisette with a very good and perhaps great film.Not this year. László Nemes, Pedro Almodóvar, Asghar Farhadi, Ryusuke Hamaguchi, Cristian Mungiu and Ira Sachs all gave us films which were, in my view, frankly pretty average. Although Mungiu’s Fjord about an abusive patriarch was liked by many, and there was a fair bit of saucer-eyed praise for Hamaguchi’s All of a Sudden, his contrived and entirely preposterous tale of a friendship between an actor and a care home director.I, on the other hand, rather enjoyed the unhurried – and underrated – eccentric comedy in Farhadi’s minor film Parallel Tales, featuring a ripe face-off between Catherine Deneuve and Isabelle Huppert, a film denounced by some as awful.But I’m sorry to say that there was wide agreement about the sentimental sci-fi fantasy Sheep in the Box, from that otherwise formidable Japanese director Hirokazu Kore-eda. It landed in Cannes with a deafening splat – a colossal clunker best forgotten about.