Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...
Kim Nguyen’s Two Lovers and a Bear is a film that suffers from a bit of an identity crisis. Like an indie playlist stuck on constant shuffle, unapologetically r...
Not a huge amount happens in Ma’ Rosa, the relentless new film from Filipino director Brillante Mendoza, which premieres this week in competition at Cannes. In ...
A woman recalls the pivotal moments of her adult life in Julieta, the latest film from Pedro Almodóvar and his fifth to screen in competition here in Cannes. It...
David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from...
Ruth Negga and Joel Edgerton deliver remarkably nuanced performances in Loving, a late-'50s- / early-‘60s-set true life story of a mixed-race couple whose illeg...
We haven’t even reached the midway point of this year’s Cannes Film Festival, but it’s probably safe to assume that Nicole Garcia’s From the Land of the Moon wi...
European directors have often faltered when crossing the Atlantic. Billy Wilder and Wim Wenders found things to say where Paolo Sorrentino could not. American H...
CGI loses the day in Steven Spielberg’s The BFG, a partly motion-captured, eco-minded adaptation of Roald Dahl’s adored children’s book that leans so heavily on...
It’s been two years since Ken Loach took Jimmy’s Hall -- a rather muted film by his standards, rumored at the time to be his swansong -- to the Competition here...
Irish-born, Berlin-based, Rory O'Connor has been covering the European film festival circuit since 2012. A regular contributor to The Film Stage, his work has also appeared in Frieze, The Playlist, and CineVue.
