On Film

Here’s a quick guide to filmmaker profiles and critics’ recommendations.

The Hungarian filmmaker will give introductions and take questions during retrospectives hosted by the American Cinematheque and Film at Lincoln Center.

The director of one of the major early works of the French New Wave lived to see interest in his work revived.

This week we’re spotlighting Ken Jacobs, queer cinema in the 1990s, and the return of the afro-horn.

The late filmmaker had a profound impact on directors such as Scorsese and Lynch; he could also be a handful.

It’s not every year that so many critics are pleased with the juries’ choices.

Seamlessly blending an array of cinematic traditions, Thelma & Louise is more than anything a western—one that takes advantage of the genre’s elasticity and reflects its preoccupation with justice, liberty, and self-determination.

What makes Thelma & Louise truly a film for women, despite the fact that it was directed by a man, are its stars, Geena Davis and Susan Sarandon, who imbue their iconic performances with tender, unwavering specificity.

Arriving at a fulcrum moment in women’s history in the United States, Thelma & Louise stoked controversy by delivering a boldly feminist worldview in a funny, warm, and sexy package.

This year saw the return of Michel Gondry, a strong showing from New York, and a bittersweet love story from Georgia.

One of the first hit movies made by an Asian American team, They Call Me Bruce confronts everyday racism with irreverent humor emblematic of its era.

Audrey Diwan’s jury spotlights emerging talents from Malaysia, Belgium, Serbia, and France.

Two of Cannes’s favorite directors, Aki Kaurismäki and Wes Anderson, return to the competition.

In one of her most moving explorations of youth, Céline Sciamma offers the gently radical and reparative chance for a mother and child to share a perspective.

Anatomy of a Fall, May December, and About Dry Grasses are among the critical favorites in competition in Cannes.

Drawing freely from the novel by the late Martin Amis, Glazer emphasizes the horror of what we do not see.

Blending a tragic love story and a terrifying, slow-motion genocide, Killers has premiered out of competition in Cannes.

Take a break from Cannes with Eric Rohmer, the Dardennes, Patrice Chéreau, Joanna Hogg, and Matthew Barney.

In her feature debut, Cette maison, the Haitian Canadian filmmaker develops an ornate and innovative approach to documentary form as she grapples with a painful part of her family history.

A half-hour western, a challenging essay film, and a 3D portrait of a major artist premiere as Special Screenings in Cannes.

Now that Jeanne du Barry has opened this year’s edition, critics look ahead to the movies they’re anticipating most.

New this month: André Bazin in English, the Farrow family, and Tom Hanks’s first novel.

Inspired by golden-age monster movies and the story of a real-life mass murderer, Peter Bogdanovich’s debut feature evokes the psychic dread of America in the 1960s, a decade defined by long-distance and increasingly high-profile gun violence.

This week: Swiss anarchists, Spanish analogue filmmakers, Warren Sonbert, and Jerzy Skolimowski.