The Criterion Collection
The full list of awards and a look back at what many consider to be the strongest edition in years.
By David Hudson
All agree that the drama set in the slums of Beirut is gripping, but is it too manipulative?
Talky, dense, and long, the follow-up to the Palme d’Or-winning Winter Sleep is also visually splendorous.
Critics split over this “urban western,” Garrone’s fourth film in competition.
And Sergei Loznitsa wins the best director award for Donbass.
The young Chinese director transports critics to a state of “melancholic bliss.”
High praise for the Korean director’s first film in eight years.
Gaspar Noé’s nightmare party movie takes the top prize.
The Los Angeles noir starring Andrew Garfield is met with mixed reviews.
Workers and management face off in a French factory, and the reviews are so-so.
Critical reception is subdued compared to the raves for Happy Hour (2015).
Joachim Trier’s jury goes for a satire about a Portuguese soccer star.
Critics come down hard on this portrait of a serial killer, but the film does have its champions.
It’s the true story of a black detective who infiltrated the KKK—and Lee just might have a hit on his hands.
The story of a family teetering on the edge of poverty scores a solid first round of reviews.
A fable, a social critique, and a frontrunner for the top prize.
A favorite at Cannes, the Spanish director returns with one of his best features yet.
A mystery, a road movie, and a tribute to the late Abbas Kiarostami.
A dance party gets way, way out of hand.
Few critics come to the defense of this story of an all-female Kurdish combat unit.
Critics may differ on Jia’s sprawling gangster movie, but all agree that Zhao Tao is outstanding.
The five-part essay film is “infused in equal measures by despair and aspiration.”
An urgent dispatch from the conflict in eastern Ukraine is winning plaudits from critics.
The nineties-era love story returns the French director to critical favor.
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