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[Cannes Review] Louder Than Bombs

Joachim Trier’s previous features, his excellent debut Reprise and its near-perfect successor Oslo, August 31st, both co-written with Eskil Vogt, pulled off the...

[Cannes Review] Rams

Following his 2010 debut, Summerland, Rams marks the second feature film from Icelandic director Grimur Hakonarson. Premiering as part of Cannes' Un Certain Reg...

[Cannes Review] The Shameless

There is something to be said about the satisfying catharsis from a pure melodrama -- a movie that is so earnest and excessive in service to its genre conventio...

[Cannes Review] Green Room

Jeremy Saulnier’s indie hit Blue Ruin, which won the FIPRESCI prize at the 2013 Directors' Fortnight and went on to enjoy a critically lauded international run,...

[Cannes Review] Carol

To be an actress and land a leading role in a Todd Haynes film must be a dream come true. With Safe, Far From Heaven, and his five-part miniseries Mildred Pierc...

[Cannes Review] Sweet Bean

Festival programming is more often than not fraught with ulterior considerations. Which is why so much is being read into symbolic placements such as the openin...

[Cannes Review] Son of Saul

László Nemes' prodigious debut feature, Son of Saul, inhabits what Primo Levi called “The Gray Zone” in his essay of the same name: the reality of the Sonderkom...

[Cannes Review] Irrational Man

With the recent Cate Blanchett-led tour de force that is Blue Jasmine and the delightful Midnight in Paris, Woody Allen has proven he still has the ability to p...

[Cannes Review] The Sea of Trees

In the largely wordless opening of Gus Van Sant’s The Sea of Trees, a man (Matthew McConaughey) drives to the airport and leaves his car in the parking lot with...

[Review] Dark Star: H. R. Giger’s World

"This is the oldest skull I have," says Hans Rudolph "Hansruedi" Giger, displaying his macabre prize as the Oscar he won for Alien sits off-camera, collecting d...