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A father tries to “reconnect” with his daughter in a Parisian palace. She eats, he swells. In this new feature film presented out of competition in midnight screening, Quentin Dupieux is as usual astounding.
Woody Harrelson (Phil) et Kristen Stewart (Madeleine). Chi-Fou-Mi Productions/Artemis Productions/Samsa Film
By Marie Sauvion
Publié le 17 mai 2026 à 06h30
STakhanovist of French cinema, Quentin Dupieux becomes downright ubiquitous this year at Cannes: on the one hand the author presents an animated film, Vertigo, at the end of the Quinzaine des cinéastes, Thursday May 21; on the other he finds the official selection, two years after having ensured its opening with The Second Act, live what Full Phil screened on Saturday May 16 in a midnight screening, a box of more or less bizarre, horrific and/or funny oddities – so many qualifiers applying to its universe in general and to this opus in particular.
The story fits on a napkin: Phil (Woody Harrelson) has booked a suite in a Parisian palace to “reconnect”
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