Cannes

Nadav Lapid on Ahed’s Knee, Israel’s Collective Soul, and Embracing Western Archetypes

Two years on from swooping the Golden Bear in Berlin with Synonyms (one of our favorites of 2019), Nadav Lapid returns with Ahed's Knee, a fraught and blisteri...

Paris, 13th District Review: Jacques Audiard Weaves a Zestful Yet Underwhelming Tapestry

There is no such thing as a typical Jacques Audiard film. Take his last three as examples: in 2012 he captured the trauma-induced romance between a wayfaring f...

Cannes Review: Queer Palm Winner The Divide is Heavy-Handed Look at Recent French History

Anybody who thinks writers who use subtext are cowards will find plenty to admire in The Divide. Taking place over the course of one night, Catherine Corsini's...

Cannes Review: A Chiara Enthrallingly Concludes Jonas Carpignano’s Calabrian Trilogy

Writer-director Jonas Carpignano completes his Calabrian trilogy with A Chiara, an enthralling drama about a teenage girl coming to terms with her family’s rol...

Cannes Review: Nitram Admirably Examines the Factors That Led to a Tragedy

The Port Arthur massacre, taking place April 28th, 1996 on the island state of Tasmania, is routinely commemorated as one of the darkest days in Australia’s po...

Ryûsuke Hamaguchi on Adapting Murakami with Drive My Car and the Sound of Silence

Relatively speaking, Ryûsuke Hamaguchi is having a good 2021. Less than six months on from picking up the Silver Bear in Berlin for Wheel of Fortune and Fantas...

Cannes Review: The Year of the Everlasting Storm is a Creative Look at Globally Unifying Trauma

Anthology films like The Year of the Everlasting Storm, wherein a flurry of esteemed directors create short segments tethered to a common theme, lack a strong ...

Cannes Review: Three Floors is Nanni Moretti in Brash Soap-Operatic Mode

A car is knocked off-course on a quiet suburban street and crashes fatally into the front room of a well-furnished apartment. In the flurry of bricks and wall ...

The Best Films From the 2021 Cannes Film Festival

After a pandemic-forced cancellation last year, Cannes Film Festival made a triumphant return this year, featuring some premieres pegged for the 2020 edition a...

Cannes Review: Bruno Dumont’s France Playfully Breaks the Codes of Bourgeois Filmmaking

“My work is all about transfiguration… I'm not a naturalistic filmmaker at all.” So goes one of the most widely quoted statements by French auteur Bruno D...

News

MUBI’s October 2023 Lineup Features Passages, Tsai Ming-liang, Luchino Visconti & More

The Criterion Channel’s October Lineup Includes ’90s Horror, Techno Thrillers, James Gray & More

Martin Scorsese Speculates on Retirement: “A Couple More, One More Maybe, and That’s It, Okay?”

Trailers

The Curse Teaser: Nathan Fielder, Emma Stone & Benny Safdie Want to Fix Your Home

May December Trailer: Natalie Portman Digs into Julianne Moore’s Controversial Past in Todd Haynes Drama

Jessie Buckley & Riz Ahmed Question Their Love in First Trailer for Christos Nikou’s Fingernails

Reviews

NYFF Review: Foe is a Locked Box with Nothing Inside

NYFF Review: La Práctica Displays Martín Rejtman’s Comedic Mastery

BFI London Review: The Hypnosis is a Toni Erdmann-Esque Cringe Comedy Skewering Corporate Culture

Features

NYC Weekend Watch: Summer Hours, Klute, Gregg Araki & More

New to Streaming: Four Shorts by Wes Anderson, Flora and Son, Dreamin’ Wild, and More

8 Undistributed Films to See at the 61st New York Film Festival

Interviews

Cinematographer Ed Lachman on Being Pablo Larraín’s “Dance Partner” for El Conde

Terence Davies on Bringing Poetry to Life, Directing His New Short, and Planning His Next Feature

Wayne Wang on His Diverse Filmography, Revisiting Old Work, and the Time Gangsters Visited His Set

Podcasts

The B-Side – Michael Keaton: Part II (with Cory Everett)

Watch: Cinephile Summer Season Finale Features The Film Stage vs. Bright Wall/Dark Room

The B-Side – In Conversation with Dustin Guy Defa