Raffi Asdourian

[Cannes Review] The Immigrant

Set in 1921 New York, The Immigrant is writer-director James Gray's sprawling tale of an American dream gone awry. Immaculate production design and stunning cin...

[Cannes Review] Only Lovers Left Alive

Hipster vampires inhabit Jim Jarmusch's Only Lovers Left Alive, an unconventional love story set between the desolate locations of Detroit and Tangier. Utilizin...

[Cannes Review] Nebraska

In following up his most commercially successful film to date, The Descendants helmer Alexander Payne has returned to the Midwest roots that, through Election, ...

[Cannes Review] The Great Beauty

Having directed Il Divo, Paolo Sorrentino is no stranger to extravagant Italian filmmaking that packs a punch of bravado and boldness. With La Grande Bellezza (...

[Cannes Review] Jodorowsky’s Dune

Never before has there been a documentary about lost cinema quite like Jodorowsky's Dune. Riding off the success incurred by career-defining films in the early ...

[Cannes Review] All Is Lost

The hurdles in making a film with a single actor, virtually no dialogue and, while you’re at it, also setting action in the middle of the ocean sounds like a da...

[Cannes Review] Only God Forgives

One of the most hyped films at this year’s Cannes Film Festival, Only God Forgives sees the reteaming of Danish helmer Nicolas Winding Refn and his newfound mus...

[Cannes Review] Shield of Straw

Takashi Miike might be the hardest working man in Japanese cinema at the moment, often making three to four different films in a single year. This uncanny outpu...

Raffi Asdourian