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[Cannes Review] From the Land of the Moon

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...

[Cannes Review] American Honey

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...

[Cannes Review] The BFG

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...

[Cannes Review] The Handmaiden

Park Chan-wook has often iterated his conviction that vengeance is a topic ripe for infinite cinematic treatments. Following the conclusion of his trilogy dedic...

[Cannes Review] The Dancer

Premiering in the Un Certain Regard section of this year’s Cannes Film Festival, The Dancer is an impassioned if formally conservative portrait of Loïe Fuller (...

[Cannes Review] Slack Bay

More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. Bu...

[Cannes Review] I, Daniel Blake

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...

[Cannes Review] Sweet Dreams

Italians certainly do worship their Mammas, or so goes the narrative of Marco Bellocchio’s Sweet Dreams, which opened the Cannes Director’s Fortnight sidebar to...