On Film

With two short films and his acclaimed debut feature, No Data Plan, now playing on the Criterion Channel, the Filipino American filmmaker discusses his vision of the immigrant experience.

Here’s what’s next for Werner Herzog, Wim Wenders, and Dominga Sotomayor, plus updates on forthcoming films from Jean-Luc Godard and Claire Denis.

First: conscious neglect and budget cuts are threatening cinema’s legacy. Then: this week’s highlights.

As André Bazin put it, Marker created “a new and modern reality based as much on language and words as on the power of the image.”

The Contemporary World Cinema and Discovery programs are set, and the festival has added new gala and special presentations.

The directors of Zola and Time will direct adaptations of novels by the acclaimed science fiction writer Octavia E. Butler.

The main competition boasts new work from Jane Campion, Pedro Almodóvar, Ana Lily Amirpour, and Pablo Larraín.

Despite the studio system’s stifling conditions, Buster Keaton’s follow-up to The Cameraman remains a testament to the funnyman’s singular style.

This week’s highlights take us to Nigeria, Egypt, Sardinia, and Japan.

Quentin Tarantino’s first novel and studies of Ophuls and Melville are among this month’s new and noteworthy titles.

Dismissed as gossip-column fodder in its time, Jacques Deray’s cooly enigmatic villa thriller is an exploration of masculine vanity and feminine disillusion.

Pedro Almodóvar will open Venice, and Toronto will bring several Cannes favorites to North America.

The Palme d’Or, Caméra d'Or, Un Certain Regard Prize, and Palme d’Or for best short film have all gone to women directors.

Since its classic-Hollywood heyday, noir has remained a vibrant mode in both studio and independent filmmaking, taking on nostalgic resonances in the highly referential work of Robert Altman, Arthur Penn, Brian De Palma, and the Coen brothers.

The spotlight this week is on Sara Driver, Jacques Tati, Bill Duke, Lizzie Borden, and Nobuhiko Obayashi.

The annual showcase of emerging talent wraps its sixtieth edition with the presentation of six awards.

Cannes premieres new work from Mia Hansen-Løve, Wes Anderson, Nanni Moretti, Asghar Farhadi, and Kirill Serebrennikov.

Critics assess new work from Mahamat-Saleh Haroun, Paul Verhoeven, Ryusuke Hamaguchi, François Ozon, Joachim Trier, and more.

Set against the backdrop of the war on drugs, Bill Duke’s boldly stylized thriller stages a meeting between the idea of noir and the idea of Black film.

Lizzie Borden’s groundbreaking drama scrutinizes the gender and labor relations that structure brothel-based sex work.

Far more than a behind-the-music tribute, Haynes’s first documentary reanimates American culture in the mid-1960s.

The British director’s autobiographical sequel is one of the most enthusiastically reviewed films at Cannes so far.

This week: Bresson’s rhythms, Hawks’s bravura, Márta Mészáros’s choreography, and the everlasting No Wave of Beth B.

A raucous, fast-talking diva, the actor had a remarkable ability to convey both glamour and silliness, a gift that made her the queen of screwball comedy before her untimely death in 1942.