When Armando (Wagner Moura) finally resolves to seek a fake passport and one-way ticket out of Brazil for himself and his young son, he asks his father-in-...
A few scenes into Urchin, we take a trip through the Bardo. First the camera (as in a million films before this) closes in on a shower drain, but then somethin...
While there’s the oft-repeated observation that every generation thinks they are living through the end of the world, the maelstrom of anxieties (both quotidia...
George Fahmy (Fares Fares) is an A-list movie star of the highest order, something Eagles of the Republic establishes at the jump. We open on him with a beauti...
We begin with music that's uncharacteristically tense for a Wes Anderson film––chugging cellos leading a full orchestra that’s more Mission: Impossible than Mo...
It wouldn’t be Cannes without a good scandal film. For 2025, British director Harry Lighton’s feature debut Pillion may be the one that sends the most peop...
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...
