Ferdinand Magellan was never regarded as a great man of history, and Lav Diaz’s surprisingly conventional––if still hypnotically paced––biopic uses genre struc...
Near the climax of Lynne Ramsay's You Were Never Really Here, two assassins––one well-dressed but dying, the other ragged but definitely alive––laid together o...
Christian Petzold’s fifteenth feature Mirrors No. 3 marks his fourth with Paula Beer, the actor-muse he first directed in 2018’s Transit, a film that shares si...
The laws of time and space are met with frisky ambivalence in Drunken Noodles, Lucio Castro’s anticipated third feature and surely the hottest title in this ye...
When confronted with the past, do you drive away or turn back to face it? Siblings Ren (Kurosaki Kodai, in his first lead role) and Emi (Mai Kiryu) have be...
Just three years since earning a special mention from the Camera d’Or jury for Plan 75, Chie Hayakawa returns to Cannes as one of seven filmmakers debuting in ...
Shot on black-and-white film with the same Cameflex model used by Jean-Luc Godard for Breathless––the film it portrays and embodies the making of––Nouvelle Vag...
In Eddington, Ari Aster’s latest doom spiral, the proposed building of a data center in nowhere New Mexico provides the catalyst for a long-overdue psychologic...
Late into I Only Rest in the Storm, Sergio (Sérgio Coragem) is asked a question he can’t seem to answer: what do you care about? A Portuguese environmental eng...
For the French-Spanish filmmaker Oliver Laxe, a competition berth in Cannes has been a long time coming. Laxe was here in 2010 (You All Are Captains), 2016...
