The Criterion Collection
The jury gave awards to nearly half the competition, but some critical favorites missed out.
By David Hudson
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.
Cannes sets its juries, Directors’ Fortnight selects its shorts, Locarno honors Laurie Anderson, and Sundance lines up a big London edition.
The seventy-fifth edition will present new work from Claire Denis, David Cronenberg, Kelly Reichardt, and Hirokazu Kore-eda.
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