Hirokazu Kore-eda’s Shoplifters Wins the Palme d’Or
The full list of awards and a look back at what many consider to be the strongest edition in years.
Nadine Labaki’s Capernaum
All agree that the drama set in the slums of Beirut is gripping, but is it too manipulative?
Nuri Bilge Ceylan’s The Wild Pear Tree
Talky, dense, and long, the follow-up to the Palme d’Or-winning Winter Sleep is also visually splendorous.
Matteo Garrone’s Dogman
Critics split over this “urban western,” Garrone’s fourth film in competition.
Border Wins the Un Certain Regard Prize
And Sergei Loznitsa wins the best director award for Donbass.
Bi Gan’s Long Day’s Journey Into Night
The young Chinese director transports critics to a state of “melancholic bliss.”
Lee Chang-dong’s Burning
High praise for the Korean director’s first film in eight years.
Directors’ Fortnight Awards: Climax and Comedy
Gaspar Noé’s nightmare party movie takes the top prize.
David Robert Mitchell’s Under the Silver Lake
The Los Angeles noir starring Andrew Garfield is met with mixed reviews.
Stéphane Brizé’s At War
Workers and management face off in a French factory, and the reviews are so-so.
Ryusuke Hamaguchi’s Asako I & II
Critical reception is subdued compared to the raves for Happy Hour (2015).
Diamantino Tops the Critics’ Week Awards
Joachim Trier’s jury goes for a satire about a Portuguese soccer star.
Lars von Trier’s The House That Jack Built
Critics come down hard on this portrait of a serial killer, but the film does have its champions.
Spike Lee’s BlacKkKlansman
It’s the true story of a black detective who infiltrated the KKK—and Lee just might have a hit on his hands.
Hirokazu Kore-eda’s Shoplifters
The story of a family teetering on the edge of poverty scores a solid first round of reviews.
Alice Rohrwacher’s Happy as Lazzaro
A fable, a social critique, and a frontrunner for the top prize.
Jaime Rosales’s Petra
A favorite at Cannes, the Spanish director returns with one of his best features yet.
Jafar Panani’s 3 Faces
A mystery, a road movie, and a tribute to the late Abbas Kiarostami.
Eva Husson’s Girls of the Sun
Few critics come to the defense of this story of an all-female Kurdish combat unit.
Jia Zhangke’s Ash Is Purest White
Critics may differ on Jia’s sprawling gangster movie, but all agree that Zhao Tao is outstanding.
Jean-Luc Godard’s The Image Book
The five-part essay film is “infused in equal measures by despair and aspiration.”
Sergei Loznitsa’s Donbass
An urgent dispatch from the conflict in eastern Ukraine is winning plaudits from critics.
Christophe Honoré’s Sorry Angel
The nineties-era love story returns the French director to critical favor.