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Premiering in competition at the 75th Annual Cannes Film Festival, “Grand Tour” by Portuguese auteur Miguel Gomes proves to be one of the year’s most captivating cinematic masterpieces. Gomes’s attention to detail cements his reputation as a true auteur and an artist worthy of the festival’s Best Director Award. Each frame of "Grand Tour" — from the use of black-and-white celluloid to the careful composition of each frame — is orchestrated to evoke a sense of bemused wonder and longing for adventure. Gomes masterfully blends documentary realism with narrative fiction to create a film that feels both grounded and dreamlike, drawing audiences into a world where self-discovery and exploration are connected. For those who appreciate the subtle craftsmanship of auteur cinema, the film offers a rare and rewarding experience that lingers long after the credits roll.

Set in 1918 Rangoon, the film begins with British diplomat Edward Abbott (Gonçalo Waddington) awaiting the arrival of his fiancée, Molly Singleton (Crista Alfaiate), who is traveling from London to marry him after seven years of separation. Overwhelmed by the impending commitment, Edward flees to Singapore, setting in motion a cross-continental journey that frames the narrative. The film unfolds as a travel diary, capturing Edward’s reluctant wanderings through exotic locales like Bangkok, Saigon, Osaka, and Manila.

At each stop, Edward receives telegrams warning that Molly is closing in, prompting him to move on. As he drifts from one place to the next, he uncovers paradoxical truths about both the world and himself — learning a lot, yet very little. His journey remains passive, skimming the surface of life rather than diving into its depths, while Molly’s relentless pursuit of him drives the film’s tension and romance.

When the story shifts focus to Molly, the film gains momentum. Her quest to reunite with Edward reveals her complexity: She’s both resilient and vulnerable, with an incredibly odd laugh and a tendency to faint in public. Molly's determined pursuit contrasts sharply with Edward's aimless avoidance, creating a suspenseful dynamic that deepens the film’s emotional resonance.

Gomes enriches the narrative with documentary-style interludes, juxtaposing historical settings with scenes of modern-day cities, often in color, while the main story remains in black-and-white. This editing choice ensures that Molly and Edward’s story reverberates with audiences in the current day despite the film being set a century in the past.

Gomes’s film explores themes of missed connections, the collapse of empires, and the futility of human endeavors. Unlike most films, “Grand Tour” avoids a sweeping romantic reunion, opting instead for a melancholic and self-aware conclusion. The film poignantly paints the vastness of the world and the bittersweet reality of love and loss.

Even though some of the more nuanced elements of the film may not be immediately clear, the story is still captivating and engaging. While understanding the subtleties of the film may deepen the audience's appreciation for it, "Grand Tour" allows viewers to enjoy the experience without needing to grasp every detail. “Grand Tour” distinguishes itself as a truly exceptional film because it resonates with audiences without relying heavily on intricacies.

However, one element that may pose a challenge for wider distribution — particularly in North America — is the film’s linguistic choices. The film’s narration shifts languages based on location, which deeply immerses the audience in the global journey while simultaneously emphasizing the cultural and emotional landscapes. While this multilingual approach is one of the film’s strengths, adding richness and authenticity, it could also pose a barrier for a North American theatrical release. Since the dialogue is primarily in Portuguese, apart from one English song, the film might struggle to attract mainstream audiences.

“Grand Tour” is set to release on MUBI later this year, alongside “The Substance,” another film that premiered at Cannes. Despite the potential for “Grand Tour” to bypass theaters and go straight to streaming, there is hope that it won’t entirely slip under the radar for American viewers.

“Grand Tour” is not a film to watch casually or without full attention — it invites audience members to immerse themselves in its subtleties and beauty. When the film reaches theaters, people should take the time to experience it fully; it’s a film that calls for contemplation. With the right audience engagement, the film is sure to leave a profound sense of adventure, connection, and reflection in its wake.

—Staff writer J.J. Moore can be reached at jj.moore@thecrimson.com.