Raffi Asdourian

[Cannes Review] Behind the Candelabra

"Too much of a good thing is wonderful." So says Liberace in what might be Steven Soderbergh's final feature film, Behind the Candelabra. A biopic about the fla...

[Cannes Review] Borgman

One of the surprises in the main competition at this year's Cannes Film Festival is Borgman, a Dutch thriller directed by Alex van Warmerdam. Set in the Netherl...

[Cannes Review] Like Father, Like Son

Few filmmakers can be said to have the same propensity for child actors as Hirokazu Koreeda. In 2004 he made Nobody Knows with an almost entirely adolescent cas...

[Cannes Review] The Dance of Reality

One of the most revered surreal and abstract filmmakers ever to grace the cinematic landscape, Alejandro Jodorowsky holds a deserved cult status. He is most fam...

[Cannes Review] Inside Llewyn Davis

There are few filmmakers as reputable and well respected as Joel and Ethan Coen, and aside from a few exceptions (The Ladykillers, Burn After Reading) they cons...

[Cannes Review] Jimmy P.

In Arnaud Desplechin's Jimmy P.: Psychotherapy of a Plains Indian, the French director makes his second leap toward the English-language realm (following Esther...

[Cannes Review] The Congress

Trippy, bizarre, surreal and hallucinatory are all excellent adjectives with which to describe Ari Folman's The Congress. Adapted from a novel by legendary sci-...

[Cannes Review] The Past

Should we forget the past in order to better our future? This existential question is at the core of The Past, Asghar Farhadi's follow-up film to the Oscar-winn...

Raffi Asdourian