Dailies is a round-up of essential film writing and other highlights from our colleagues across the Internet — and, occasionally, our own writers. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

Cannes Classics have unveiled their line-up, included restored films from Sergio Leone, Wim Wenders, Nagisa Oshima, Roberto Rossellini, Krzysztof Kieślowski, François Truffaut, Alfred Hitchcock, Frank Capra, Jean Renoir and more.

Watch the late Bob Hoskins in a behind-the-scenes look at the composition of Who Framed Roger Rabbit:

Francis Ford Coppola tells Empire that films shouldn’t be judged until a decade later:

“Films I thought, because of their original reception, were failures and yet went on in time to be regarded as classics [has surprised me]. Sometimes I think films shouldn’t even be judged until ten years have passed.” He adds, “Wes Anderson, Paul Thomas Anderson, James Gray, Sofia [Coppola], David O. Russell, Steven Soderbergh, Tamara Jenkins, Sarah Polley – we are blessed by these new generations of filmmakers. I could name many more. In the end, though, I love a film I’ve never seen before.”

Ken Loach tells THR he’s actually not retiring from narrative features and that “a small contemporary film may be a possibility.”

Watch the history of film in 222 heartbeats, courtesy of Wandering Gio:

At Village Voice, Michael Atkinson on the deep empathy of Kenji Mizoguchi‘s heroines:

In some danger of being overlooked in the press of history that reveres Yasujiro Ozu’s rigorous constancy and Akira Kurosawa’s noble pulp, Kenji Mizoguchi is a more difficult master magician to love and a harder legend to sell. We like our auteurs set in idiosyncratic bronze, and the more consistently they cast stylistic shadows, the more they are lionized by successive generations of cinephiles. Mizoguchi’s 33-year career, reaching from the silent era to the rise of global popularity of Japanese cinema in the postwar years, with 1956’s Street of Shame, had a subtler, more nuanced trajectory, guided only by his tastefulness, flamboyance-free humanism, and belief in the expressive force of the moving camera and the resonance of deep compositions.

Film Society at Lincoln Center have announced their summer line-up, including The Strange Little Cat, Jealousy, Canopy, The Kill Team, and more.

At Vanity Fair, Glenn Kenny on Hollywood’s brooding leading men:

Tom Hardy is the only actor present on-screen in the new movie Locke. As the title character, he drives through the night on a British highway, engaged in phone conversations that reveal a man in deep trouble, with deep emotional issues contributing to that trouble. Hardy himself is an intense, hard-working actor who’s catnip to profile writers on account of his own inner demons and his willingness to discuss overcoming them. The male thespian whose intense screen personae draw from real-life turmoil is nothing new. Here’s an honor roll of them.

Watch The Wes Anderson Mixtape by Eclectic Method:

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