Cannes Review: The President's Cake Contains All the Elements of a Promising Directorial Debut

      One of the standout aspects of The President’s Cake is its vivid colors. The film showcases the rich red of a rooster’s comb emerging from a young girl's carrying pouch, the white embellishments on her uncle’s blue car, and the expansive view featuring a dark evening sky interrupted by the sound of two American fighter jets. Set in Iraq during the 1990s, the film’s decorations are intended for its president, Saddam Hussein. Shortly, the perspective shifts to reveal villagers queued for water. Observing the lengths people go for basic necessities raises the question: how likely is it that anyone can find baking soda?

      Hasan Hadi’s Cake had its debut in Directors’ Fortnight and received the audience award. Additionally, during the closing weekend, it won the prestigious Camera d’Or for best first feature at Cannes, determined by a jury led by Alice Rohrwacher. This is a remarkable accomplishment for any film, particularly for one that is the first to represent Iraq in the festival's extensive history. Hadi currently resides in New York, working as an adjunct professor at NYU Tisch, but the film draws from his personal experiences during that era—especially the mandatory celebration of Hussein's birthday for all citizens, irrespective of their circumstances or U.S. sanctions. The film tackles this issue with a sense of understated humor. A small aspect of this involved randomly selecting names in the classroom, where the least fortunate student had to provide a cake; failure to do so could lead to severe repercussions.

      This premise sets the stage for a captivating movie, not only due to its vivid sense of place (Hadi filmed on location) and political backdrop but also the compelling storyline. Baneen Ahmed Nayyef plays Lamia, a nine-year-old girl who, accompanied by her elderly grandmother, Bibi (Waheed Thabet Khreibat), travels to the city in search of the four ingredients they need to avoid social shame—or worse. In a shocking scene, Lamia’s blunt school teacher reminds the children of a family that was brutally treated for noncompliance. On their journey, they encounter her uncle, Jasim (Rahim AlHaj), who offers them a ride, and cross paths with Lamia’s classmate, Saeed (Sajad Mohamad Qasem), who is on a mission to get fruit. As is typical, the children eventually find themselves alone and must rely on their resourcefulness. Some encounters provide comic relief while others hold a sense of danger. The film maintains consistent engagement throughout.

      While watching The President’s Cake, I started to question whether Jafar Panahi's presence in Cannes' competition might have overshadowed it: Hadi’s film passes the initial visual test with such ease that it’s hard to grasp how it could have been overlooked in the competition. A bit of background on the events in Iraq during the early 1990s or familiarity with notable films from the region featuring children would be beneficial, yet neither is essential for enjoying this film. I found the vibrant use of color particularly compelling, as it contrasts with the common perception of films from Iraq, which often revolve around muted tones of sand and military attire due to decades of Western perspectives.

      Remarkably, the film’s lighter moments—its humor, cinematic style (thanks to DP Tudor Vladimir Panduru), and dark comedic elements—do not diminish its political weight. Violence pervades Lamia’s reality, from the roar of jet engines overhead to the injured soldiers she encounters in the streets. (The fact that the children seem indifferent to it serves as a stark reminder of the harsh realities faced by youth in similar regions today.) It’s important to note that this film had significant backing; Hadi’s previous short, Swimsuit, was acquired by HBO, and the executive producer roster includes Marielle Heller and Christopher Columbus, with Eric Roth credited as co-writer. Yet, it’s hard to think of another debut that blends crowd-pleasing elements, political depth, and cinematic scope so effectively.

      The President’s Cake made its debut at the 2025 Cannes Film Festival and will be distributed by Sony Pictures Classics.