If 19th- and 20th-century storytelling was defined by grandiose literature, the 21st is all about cinema. We read less and watch more; consequently, films ...
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...
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...
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...
One of the most pernicious tendencies in the way we talk about cinema is to reduce films to quantifiable objects—things that can be assessed in terms of ho...
In Ben’Imana, the perpetrators of a genocide are being put on public trial, but it just as often feels like the families of their victims are being forced ...
James Gray had left the comfort zone of the native New York he chronicled over the first two decades of his career, sending Charlie Hunnam, Robert Pattinso...
There is a certain pantheon of talented film directors, like Guido Anselmi and Ferrand, whose names barely ring a bell. Yet you know 8½ and Day for Night––...
“Are healthy people truly alive?” It is early into All of a Sudden when Marie-Lou (Virginie Efira) hears the question that rings as a tagline for Ryusuke H...
With the halfway point of this year’s Cannes Film Festival fast approaching, one of the best movies I’ve seen is a Chilean chiller called The Meltdown. It'...
