The parting image in Andrey Zvyagintsev’s Loveless was a woman in a tracksuit with the word "RUSSIA" printed over it running on a treadmill—a pointed metaphor ...
In 1858, pre-Freud times, a castle in the Yorkshire moors of Northern England by the name of Ensor House becomes the new dwelling place for young governess Win...
In Ira Sachs’ last film, Peter Hujar’s Day, the director used a rigorous framing device––a purposefully banal interview that took place in 1974 between the epo...
László Nemes began his career on a mountaintop that he’s struggled to scale ever since. Son of Saul was the rare first film that not only premiered in competit...
Clio Barnard returns to Directors’ Fortnight after The Selfish Giant and Ali & Ava with an adaptation of Keiran Goddard’s novel I See Buildings Fall Li...
Seen through a child’s eyes, the French Riviera suggests heaven on Earth. For the three at the heart of Bruno Dumont’s Red Rocks—Geo (Kaylon Lancel), Manon (Lo...
In Everytime, a sun-dappled film about death and love that might be the best in Cannes this year, the terrible loss of a teenage girl’s life leaves her mot...
Almost ten years to the day since The Neon Demon’s premiere, Nicolas Winding Refn returns to Cannes with Her Private Hell—a film wherein the Internet’s it girl...
A soft upright piano playing “Amazing Grace” drapes in warmly over the opening image of Fjord: a powder-blue-hued glacial mountain towering over the gliste...
Garance (Adèle Exarchopoulos) is her name, and she’s proud of it: of being a feminist, a liberated woman, of having caring friends, loving family, and the most...
