The Daily

This week sees new issues of film and literary journals as well as great writing on Stanley Kwan, Hong Sangsoo, and Claire Denis.

Along with celebrations of Dario Argento and George A. Romero, the season brings a series of more than a hundred nightmares.

An intriguing collaboration between Sofia Bohdanowicz, Burak Çevik, and Blake Williams will premiere next month at FIDMarseille.

The showcase of independent films from around the world returns as an in-person event for the first time since 2019.

“The best actors in the world,” he once said, “are those who feel the most and show the least.”

This week: Surrealism and cinema, a Cold War “travesty,” talking about Bruno, and walking in Hong Kong.

The Film at Lincoln Center retrospective features seventeen new restorations overseen by the director himself.

The late actor will be remembered for his work with Robert Altman, Paul Thomas Anderson—and Jerry Seinfeld.

This week: Sarah Maldoror and Wayne Wang, plus new issues and features and the return of Film Studies for Free.

Tough choices will face attendees from today through June 18.

Olivier Assayas has his reasons for retelling the story of a remake.

Along with a fresh round of new issues from film journals, we’re reading about Mike Leigh, Juliet Berto, Julie Dash, and Clint Eastwood.

UCLA spotlights a diverse array of American lives depicted in films made between 1984 and 2020.

The jury gave awards to nearly half the competition, but some critical favorites missed out.

After firing up the screen in Something Wild, Liotta secured immortality as a wiseguy in Goodfellas.

The top awards at this year’s Critics’ Week go to stories of young people with uncertain futures.

Park returns to the competition in Cannes with a Hitchcockian murder mystery.

While some critics expected more gore, others see a wryly wise reflection on our biological future.

The Romanian director maps varied strains of racism coursing through a tiny Transylvanian town.

A contemporary reimagining of Au hasard Balthazar becomes an unlikely contender for the Palme d’Or.

Critics take a first look at new films from James Gray, Felix van Groeningen and Charlotte Vandermeersch, Mia Hansen-Løve, Saela Davis and Anna Rose Holmer, and Pietro Marcello.

As Tchaikovsky’s Wife premieres in competition, the Russian director fields questions about cultural boycotts.

A new restoration of The Mother and the Whore launches Cannes Classics before Final Cut officially raises the curtain.

This month we’re reading about David Fincher, Sofia Coppola, Hong Sangsoo, and Werner Herzog.