CANNES – In a historic year for gay themed films at the 2026 Cannes Film Festival, one thing sets apart Lukas Dhont’s “Coward” from the rest. It’s not two men finding love on the battlefield during WWI, although that certainly resonates as a narrative backdrop. It’s not a touring group of artists embracing period drag to entertain Belgian troops. No, it’s the chemistry between the film’s star-crossed lovers, Emmanuel Macchia as Pierre and Valentin Campagne as Francis. From the moment they meet on screen, there is something genuinely electric between their eyes. And you simply can’t ignore it.

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An original screenplay co-written by Dhont and Angelo Tussens and inspired by a specific photo the former found of a Belgian soldier dressed as a woman in 1914, the movie begins with our hero, Pierre, headed to the front lines with a battalion of similarly young recruits on a train. One of Dhont’s strengths in his relatively short career so far has been working with young actors, and, in this case, he instills confidence in this ensemble, some professional, some decided not to project a sense of “joie de vivre.” They don’t know the attrocities awaiting them in the trenches. They don’t believe they will be put in serious harm’s way. They are gravely mistaken.

Nicknamed “quiet mouse” by his more lively brothers-in-arms, Pierre finds his first duty not on the battlefield proper, but transferring dead soldiers into mass graves. It is a jarring reminder that these boys are heading into hell. Soon, Pierre is in the trenches, responsible for pulling out wounded or dead soldiers during short 15-minute truces. This is worlds away from Pierre’s previous, sheltered life, working on a farm in the Belgian countryside. And yet, he keeps his composure while some of his countrymen crack under the pressure.

Thankfully, a welcome distraction from the ravages of war appears at camp. A group of misfit actors and artists, sarcastically called the “gang of outcasts,” has been pulled from the front to craft a live performance to entertain the troops. Pierre, along with his regimen, is asked to help cobble together a makeshift stage for the show. In so doing, he immediately catches Francis’ eye. Charismatic, confident, and just flamboyant enough to steal anyone’s spotlight, Francis is the creative director of the endeavor (you assume he appointed himself), and Pierre is immediately captivated. Whether this is a new attraction for our quiet mouse is unclear, but he’s too shy to act on it himself. Well, at first. Francis may be surprised by how game Pierre is once the masks are taken off.

From a narrative and cinematic standpoint, “Coward” arguably peaks early. Surprising considering Dhont’s talents. But the peak in question is so utterly divine, you are inclined to forgive what follows. It’s the first performance for Francis and his ensemble. Neither the generals who approved the show nor the infantry in the audience know what they are in for. But these are artists, and even with limited resources, they use their talents to put on something wondrous. Francis, essentially in drag (pretty common during WWI), sings a ballad that is absolutely angelic and would stir feelings in even the most closed-minded individual. It’s a moment that would resonate on any stage anywhere, let alone in contrast to the events in the trenches less than a kilometer away. Is their production itself historically accurate? An excellent question that’s hard to dismiss. We’re not sure, but we’d like to believe it could be.

What resonates throughout are the performances of Macchia, a first-time, non-professional actor, and Campagne, an industry veteran in comparison. As he has with his previous two films, Dhont sticks almost exclusively to mid-shots and close-ups. This allows the filmmaker to capture the two actors connecting on screen in an intimate, spectacular fashion. You feel the nervousness in your stomach when Francis first attempts to pull Pierre out of his shell. When Pierre watches Francis perform, the unspoken love radiates from him. You see it in his eyes. There are other stellar queer-themed premieres at Cannes this year filled with heartbreak-fueled romances, but none of those pairings match this level of nuanced connection. Dhont wants you to believe these are two soul mates who have found each other in the darkest of circumstances, and you just might.

In something of a relief, Dhont avoids diving into too much exposition on trench life during the war. He lets the daily horrors, both minor and extreme, unfold with little exposition. “Coward” is not here for a history lesson. And while he and cinematographer Frank Van den Eeden make the inspired choice to avoid the never-ending grey, rainy, overcast depictions of this particular war, the brutality of the conflict is on full display.

In the last third of the film, as Pierre and Valentin seem destined to go their separate ways (because, of course), the scenario, disconcertingly, begins to fade a bit. Despite the actors’ best efforts, the dramatic tension and conflict between the pair is either too inevitable or, somehow, too obvious. But unlike other period tales of hidden queer love, including one that debuted at this same festival a year ago, Dhont isn’t interested in dripping his canvas in tragedy. He’s going to leave you with a glimmer of hope. Actually, more than a glimmer. A wry smile of anticipation that suggests all isn’t lost and love can find a way. And if you doubt it, even for a moment, don’t fret. The photos are right there. [B+/B]

Look for complete coverage from the 2026 Cannes Film Festival on The Playlist.

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