6 Movies That Were Booed at Cannes But Are Now Considered Masterpieces

Since its inception in 1946, the Cannes Film Festival has hosted premieres for some of the most influential and impactful movies in cinematic history. While the festival has long been associated with its minutes-spanning standing ovations (often given to even some of the festival’s more forgettable features), Cannes has also been known to come with its fair share of heckles and boos for films not up to its audiences' often cryptic sensibilities.

Despite this, some of the most beloved films of the last century from legendary directors like David Lynch and Martin Scorsese were met with a less-than-enthusiastic welcome at Cannes. 

1. Taxi Driver (1976) 
2. Twin Peaks: Fire Walk with Me (1992)
3. Pulp Fiction (1995)
4. Marie Antoinette (2006)
5. Wild at Heart (1990)
6. Inglorious Basterds (2009)

Taxi Driver (1976) 

Though it’s now often cited as one of acclaimed filmmaker Martin Scorsese's finest films, when Taxi Driver premiered at the Cannes Film Festival in 1976, it was met with a jarring level of antipathy. Starring Robert De Niro as Travis Bickle, an alienated Vietnam veteran and taxi driver navigating a crime-riddled New York City, many cited the film’s graphic depiction of violence as the primary reason for its initial negative reception at the festival.

Despite this, the Cannes jury was unable to discount the film’s artistic merit and awarded Taxi Driver the Palme d’Or, the festival’s most coveted prize. 

Twin Peaks: Fire Walk with Me (1992)

Despite his legacy as one of the most singularly influential filmmakers in cinematic history, the late, great David Lynch’s films have always evoked polarizing reactions from critics and audiences alike. A prequel to Lynch’s beloved television series Twin Peaks, his cinematic spinoff Twin Peaks: Fire Walk with Me premiered at the Cannes Film Festival on May 16, 1992, garnering less than enthusiastic reviews. 

While many films at the French festival are regularly met with minutes-spanning standing ovations, Lynch’s Fire Walk with Me received a staggering 10 straight minutes of boos, according to one of the film’s stars, actor Ray Wise. Critically polarizing and commercially unviable, Lynch’s Fire Walk with Me tanked at the box office, totally dashing production’s hopeful plans for a sequel. 

Like much of Lynch’s work, Twin Peaks: Fire Walk with Me underwent a critical reassessment in later years, going on to become a staple in the genre-defying filmmaker’s expansive catalogue. 

Pulp Fiction (1995)

When Quentin Tarantino’s neo-noir classic Pulp Fiction premiered at the Cannes Film Festival in May 1994, audiences were blown away by its graphic depiction of crime, drug usage, and violence. Pairing unconventional storytelling with Tarantino’s hallmark no-holds-barred style, Pulp Fiction was that year’s most polarizing entry, both delighting and disgusting the audience in equal measure. 

When Clint Eastwood, the festival jury’s president that year, presented Tarantino with the Palme d’Or, Tarantino gave an incensed heckler the middle finger while he accepted the festival’s highest honor. Despite the split reception, Tarantino later served as president of the jury for Cannes’ 2004 competition, wherein he presented American filmmaker Michael Moore with the Palme d’Or for his documentary Fahrenheit 9/11. 

Marie Antoinette (2006)

Loosely based on the life of French queen Marie Antoinette, Sofia Coppola’s 2006 film Marie Antoinette premiered at the Cannes Film Festival in May 2006. Starring Kirsten Dunst as the film’s titular queen, the film has garnered a cult following in the two decades since its release, but its initial critical reception was less than warm.

Though many critics lauded Coppola’s daring direction and impeccable production design, some took umbrage with Coppola’s largely sympathetic depiction of Antoinette. Although Coppola’s unconventional take on Antoinette was met with a “trumpet blast of boos” when it premiered at the French film festival, Marie Antoinette has come to be considered one of Coppola’s finest works and a sharp distillation of Coppola’s indelible aesthetic sensibilities. 

Wild at Heart (1990)

The second appearance from director David Lynch on our list, like Twin Peaks: Fire Walk with Me, Lynch’s black comedy Wild at Heart evoked a predictably polarizing reaction from audiences when it premiered at Cannes in May 1990.

The film stars actors Nicolas Cage and Laura Dern as Sailor Ripley and Lula Fortune, a pair of Lynchian star-crossed lovers fleeing Fortune’s overprotective mother. A sort of macabre Wizard of Oz, Lynch’s Wild at Heart was awarded the festival’s Palme d’Or in one of the festival’s most controversial judgements to date. 

Completing the film’s final cut just a day before it premiered at Cannes, initial screenings of the film at Cannes were generally positive, but once Lynch was announced as the winner of the Palme d’Or, thunderous boos from the crowd drowned out any notions of celebration. Critically divisive and commercially disappointing, Wild at Heart (like many of Lynch’s works) was critically reevaluated in later years and has come to mark a defining moment in Lynch’s storied career. 

Inglorious Basterds (2009)

Much like Lynch, a fair number of Tarantino’s films have premiered at Cannes to largely negative reactions—his 2009 war film Inglorious Basterds being no different.

A sort of spaghetti Western meets revisionist history WW2 flick, Inglorious Basterds touted a stacked cast including actors like Brad Pitt, Diane Kruger, Christoph Waltz, and Michael Fassbender. Despite the film going on to gross more than $300 million at the worldwide box office and scoring eight Academy Awards nominations, reaction at Cannes was mixed, with some critics citing the film’s (predictably) gory subject matter as their primary issue.