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May 25, 2022 — Mira Nair’s sumptuous second feature explores migration, rebellion, and romance across racial borders in the American South.

May 23, 2022 — A contemporary reimagining of Au hasard Balthazar becomes an unlikely contender for the Palme d’Or.

May 20, 2022 — 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.

May 17, 2022 — A new restoration of The Mother and the Whore launches Cannes Classics before Final Cut officially raises the curtain.

May 17, 2022 — Juzo Itami’s tragicomic directorial debut has scandalous fun with the Japanese traditions governing death.

May 13, 2022 — It wasn’t always smooth going for Max Ophuls, Mike Hodges, or Irrfan Khan.

May 13, 2022 — The director of We’re All Going to the World’s Fair reflects on the transformative power of a Sonic Youth needle drop in Olivier Assayas’s 1996 film.

May 10, 2022 — The director of Ex Machina and Annihilation returns, and many critics have questions.

May 5, 2022 — A coincidental set of screenings and openings almost seems to be responding to the impending reversal of Roe v. Wade.

May 5, 2022 — Has Asian American cinematic representation really reached unprecedented heights, as almost all recent film coverage on the subject claims? In the past two years, critics’ polls, New York Times features, and Golden Globes scandals have marked the newfound success of...