The Criterion Collection
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.
By Colin MacCabe
Once again, Lav Diaz and Takashi Miike did what they do; but the Fortnight also showcased a wide range of promising talent.
By David Hudson
Nadine Labaki’s jury has selected an eclectic range of award winners from this year’s program.
The awards have been presented, the red carpet rolled up, and now we can gather a little perspective on this year’s competition.
Elia Suleiman, who returned to Cannes this year with his latest film, talks with us about comedy as a form of political resistance.
By Bilge Ebiri
One family infiltrates another in one of this year’s top critical favorites.
Our survey of this year’s edition begins with the first animated feature to take the top award.
Most critics won’t allow a comically absurd premise or a convoluted plot stand in the way of a good time.
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.
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.
Willem Dafoe and Robert Pattinson star in a two-hander that’s scoring some of the best reviews at this year’s festival.
Malick’s rendering of the true story of a conscientious objector has split the critics.
Setting the Haiti of 1962 next to present-day Paris, Bonello weighs the impact of French colonialism.
Triple crosses follow double crosses in this slick crime thriller.
For many, the semi-autobiographical film is one of Almodóvar’s best in years.
While a few find the family drama heavy-handed, most critics are enthusiastically cheering on Loach’s latest competition entry.
The Austrian director, a Cannes regular, is in competition for the first time with a chilly tale of a happiness-inducing flower.
Critics are finding the young Russian director’s second feature to be bleak yet irresistibly masterful.
Diop’s debut fiction feature is a love story, a detective story, and a ghost story.
Ly’s fiery fiction feature debut alludes not only to Hugo but also to Fuqua, Kassovitz, and Spike Lee.
Moving from the merely unsettling to the outright bloody, the Brazilian directors come down hard on their new government.
Initial response to Silverstein’s first fiction feature is ranging from warm to very warm indeed.
Within a brisk seventy-seven minutes, Dupieux and Jean Dujardin escort us into the mind of a potential psychopath.
The star-studded zom-com has been met with a first round of mildly appreciative reviews.
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