Dark Clouds Over Cannes
The sorry state of the world resulted in a Cannes lineup filled with dark, dystopian visions, which also happened to be one of the strongest of recent years.
Directors’ Fortnight’s Old Hands and Fresh Faces
Once again, Lav Diaz and Takashi Miike did what they do; but the Fortnight also showcased a wide range of promising talent.
Melodrama, Debauchery, Comedy: Un Certain Regard
Nadine Labaki’s jury has selected an eclectic range of award winners from this year’s program.
Competition Highs and Lows
The awards have been presented, the red carpet rolled up, and now we can gather a little perspective on this year’s competition.
A Leading Palestinian Auteur Looks Toward the Light
Elia Suleiman, who returned to Cannes this year with his latest film, talks with us about comedy as a form of political resistance.
Bong Joon-ho’s Parasite
One family infiltrates another in one of this year’s top critical favorites.
Critics’ Week Awards and Highlights
Our survey of this year’s edition begins with the first animated feature to take the top award.
Corneliu Porumboiu’s The Whistlers
Most critics won’t allow a comically absurd premise or a convoluted plot stand in the way of a good time.
Quentin Tarantino’s Once Upon a Time . . . in Hollywood
Everyone’s all in for the first two acts of this love letter to Los Angeles—but for many, the third is a deal-breaker.
A Filmmaking Family Takes to the Streets
Legendary activist filmmaker Fernando Solanas joins his son and daughter in Cannes for their latest project, a chronicle of the long, hard fight for abortion rights in Argentina.
Robert Eggers’s The Lighthouse
Willem Dafoe and Robert Pattinson star in a two-hander that’s scoring some of the best reviews at this year’s festival.
Terrence Malick’s A Hidden Life
Malick’s rendering of the true story of a conscientious objector has split the critics.
Bertrand Bonello’s Zombi Child
Setting the Haiti of 1962 next to present-day Paris, Bonello weighs the impact of French colonialism.
Diao Yinan’s The Wild Goose Lake
Triple crosses follow double crosses in this slick crime thriller.
Pedro Almodóvar’s Pain and Glory
For many, the semi-autobiographical film is one of Almodóvar’s best in years.
Ken Loach’s Sorry We Missed You
While a few find the family drama heavy-handed, most critics are enthusiastically cheering on Loach’s latest competition entry.
Jessica Hausner’s Little Joe
The Austrian director, a Cannes regular, is in competition for the first time with a chilly tale of a happiness-inducing flower.
Kantemir Balagov’s Beanpole
Critics are finding the young Russian director’s second feature to be bleak yet irresistibly masterful.
Mati Diop’s Atlantics
Diop’s debut fiction feature is a love story, a detective story, and a ghost story.
Ladj Ly’s Les misérables
Ly’s fiery fiction feature debut alludes not only to Hugo but also to Fuqua, Kassovitz, and Spike Lee.
Mendonça and Dornelles’s Bacurau
Moving from the merely unsettling to the outright bloody, the Brazilian directors come down hard on their new government.
Annie Silverstein’s Bull
Initial response to Silverstein’s first fiction feature is ranging from warm to very warm indeed.
Quentin Dupieux’s Deerskin
Within a brisk seventy-seven minutes, Dupieux and Jean Dujardin escort us into the mind of a potential psychopath.
Jim Jarmusch’s The Dead Don’t Die
The star-studded zom-com has been met with a first round of mildly appreciative reviews.