The Unknown Film Review: Captivating Slowburn

Arthur Harari is in top form in The Unknown, which submerges us into an outstanding bodyswap thriller that delivers two great character studies.

Harari and Triet are an unstoppable duo, but for The Unknown (L’Inconnue), he’s stepped into writing and directing by himself to create a subdued yet expressive analysis of two characters. This time, it’s in a bodyswap fantasy film that leaves you begging for more. 

It all starts with a photographer, David Zimmerman (Niels Schneider, of Coup de Chance), who takes his photos in secret. He has a passion for creating art in a concealed manner, even having his own darkroom so that he can develop everything he shoots without ever having to show another person. When he has sex with a stranger at a riotous party, he finds himself waking up in her body. Like an adult Freaky Friday, The Unknown raises the question: what if you actually liked switching bodies with the opposite gender?   

David awakening in Eva’s (Léa Seydoux, of The Beast) body is at first a bizarre situation, but he promptly becomes curious, holding a mirror up to all parts of Eva’s physique, examining every inch of her. He’s not entirely comfortable, but there is something he likes about it. Seydoux is more than magnificent in The Unknown, giving a performance of a lifetime that is understated yet still so powerful. Her confidence and comfortability here are unmatched. Schneider, too, in the moments leading up to the swap is a character of few words, but every expression on his face always manages to be provocative. 

What makes The Unknown so special is how these two character studies really give you a sense of who they are as people, even in their different bodies. We can see David’s persona in Eva’s body. His shy, recluse self is apparent when we first meet him, and that shines through in Eva. Little is known about Eva prior to the swap, but it’s clear her intentions are to get out of David’s body as quickly as she can, picking up the first girl she sees to get herself back into a woman’s body. David and Eva just wanted a brisk encounter together at the party, but instead they became closer than they could have ever imagined. 

The repetitive soundtrack captures this sense of unease throughout. It’s a sort of loud piano slam on repeat every time something of discomfort happens, but it somehow continuously creates a sensation of apprehension as the narrative is so unpredictable. This is where the directing and lack of dialogue from Harari is exceptional. The soundtrack speaks a thousand words, he just knows where to put each reveal. By the end you’re sick of hearing these notes played, but for the duration of the film, it’s effective. 

The Unknown works on so many levels, making it a real standout among the competition titles at Cannes this year. It has divisive tendencies (who knew people wouldn’t like a slowburn!), but there’s a lot of conviction from the cast that aid it to actually be an outstanding thriller. Harari is truly on top form.

The Unknown premiered in competition at the Cannes Film Festival on May 18, 2026.