The Un Certain Regard at the Cannes Film Festival is like the poor cousin who is often ignored and treated like a doormat. We know the Cinderella story, do we not? But like the impoverished girl in the fairytale, Un Certain Regard, a section, which has often been playing second fiddle to Competition, has this unique ability to spring from the sidelines and sparkle.

In a recent interview, the big man of the Festival, Thierry Fremaux, said “the Un Certain Regard’s purpose was to bring out new trends, new paths, new countries of cinema. It’s a selection that favours young moviemakers, especially female directors, and prepares the emergence of future generations.We’re looking for style, originality, narrative force and conviction.”

Peter Bradshaw, the Chief Film Critic of The Guardian, said the “Un Certain Regard was a game changer when it was founded in 1978 by Gilles Jacob, Frémaux’s predecessor. It doubled the size of the official Festival, basically. Twenty extra titles in what is a very important sidebar — it’s taken very seriously — and with that sidebar it created a huge challenge to the other festivals because, you know, other festivals which might have wanted those titles find they’re being hoovered up by Un Certain Regard.”

These movies are the future of cinema. They are the harbinger of things to come. In recent times, many directors who have found a firm footing among Competition titles started their Cannes journey in the quite alleyways of Un Certain Regard, which translates as A Certain Look. These men and women took their baby steps within the confines of this category which -- away from the hustle, bustle, shove and push of everybody’s favourite and much sought after Competition -- offers a brilliant chance for reflection and finally glory.

Ten years before South Korean auteur Bong Joon-ho won the top prize, Palme d”Or, he stunned just about everybody with his Mother, a tender tale of mother-son ties, which borders on possessiveness.

Sweden's Ruben Ostlund, who won Palmes for The Square (2017) and Triangle of Sadness (2022), walked away with the Un Certain Regard Jury Prize for Force Majeuree in 2014.

Another classic example is Xavier Dolan, the 35-year-old French Canadian auteur who is the Un Certain Regard jury president this year. Two of his works, Heartbeats (2010) — made when Dolan was 21 — and Laurence Anyways (2012), were shown in Un Certain Regard. His next two features Mommy (2014) and It’s Only the End of the World (2016) won top Competition prizes.

“I believe that what young moviemakers are putting forward this year is very exciting, you will see,” Frémaux added -- probably with a sense of pride.

Indeed, Un Certain Regard has over the years developed into a wonderful launchpad from where poor Cinderellas emerge from the ugly duckling into the feathery finery of a pretty swan.

Here are five Un Certain Regard works that one should not miss even if that means skipping a Competition title: When the Light Breaks by Runar Runarsson from Iceland; Norah from Saudi director Tawfik Alzaidi; September Says by Franco-Greek actress-turned-director Ariane Labed; Konstantin Bojanov's The Shameless, a poignant Indian drama; and Indian police investigation story Santosh with Shahana Goswami headlining the title character.

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