[Cannes Review] Mountains May Depart
Though vastly more moderate than its predecessor, the ultra-violent A Touch of Sin, Jia Zhangke’s Mountains May Depart continues the director’s move away from t...
Giovanni Marchini Camia
[Cannes Review] Love
Gaspar Noé, author of the notorious Irreversible and Enter the Void, has been generating a lot of hype around his fourth feature Love, which at Cannes was large...
[Cannes Review] Youth
Paolo Sorrentino’s visual prowess is almost always let down by his scriptwriting. That’s why his only feature based on a real-life story, Il Divo (winner of the...
[Cannes Review] Sicario
With each film, Denis Villeneuve proves his talent for crafting extremely effective visceral spectacles, ensnaring the viewer through expert engineering of mood...
[Cannes Review] Louder Than Bombs
Joachim Trier’s previous features, his excellent debut Reprise and its near-perfect successor Oslo, August 31st, both co-written with Eskil Vogt, pulled off the...
[Cannes Review] Green Room
Jeremy Saulnier’s indie hit Blue Ruin, which won the FIPRESCI prize at the 2013 Directors' Fortnight and went on to enjoy a critically lauded international run,...
[Cannes Review] Carol
To be an actress and land a leading role in a Todd Haynes film must be a dream come true. With Safe, Far From Heaven, and his five-part miniseries Mildred Pierc...
[Cannes Review] Son of Saul
László Nemes' prodigious debut feature, Son of Saul, inhabits what Primo Levi called “The Gray Zone” in his essay of the same name: the reality of the Sonderkom...
[Cannes Review] The Sea of Trees
In the largely wordless opening of Gus Van Sant’s The Sea of Trees, a man (Matthew McConaughey) drives to the airport and leaves his car in the parking lot with...
[Cannes Review] The Lobster
The eminently idiosyncratic films of Yorgos Lanthimos revile the societal constructs that stifle and pervert human interaction. In laying bare these structures’...
