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...
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 ...
