Don’t Threaten Me with a Good Time: on Richard Linklater’s Nouvelle Vague
There are few things that embody the spirit of Cannes more precisely than the experience of watching a film in…
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Deciphering “Alpha”
Julia Ducournau’s Alpha is a film that I’ve found really hard to talk about. At Cannes, everyone talks about what…
PC Williams on Grief, Legacy, and Lagos in ‘My Father’s Shadow’
PC Williams’ costumes tell the story.
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Oh, Canada Cinematographer Andrew Wonder on His Journey Towards Shooting the “First Sensitive Paul Schrader Film”
It is always a treat to watch a new film from writer-director Paul Schrader, one of America’s foundational thinkers of film form and…
Baseball and America in Eephus
“What always draws me to a film idea is location, mood, and light,” says Carson Lund. In his directorial debut Eephus it’s a…
“…And What’s on the Other Side”: Life, Death and Muppets in Jim Henson Idea Man
In the manner of so many of our most influential creatives and thinkers, the person of Jim Henson—creator of the Muppets, voice of…
Animating Tragedy in Michel Hazanavicius’ The Most Precious of Cargoes
When it comes to subject matters like the Holocaust, one can hardly afford to be diplomatic.
All Style, No “Substance:” Coralie Fargeat’s Cannes critics’ hit is riotous fool’s gold
When Carolie Fargeat’s The Substance premiered at this year’s Festival de Cannes, the response was electric. It seemed immediately that the festival had…
Mutant Women and Noir Dreams: A Cinematic Exploration of Gilda and The Shrouds
Gilda and The Shrouds perform similar dances that flit between paranoid jealousy and nihilistic dissociation.
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In Our Day: The Cinematic Spaces of Men, Women, the Camera… and the Rifts in Between.
Men, women, and a camera. You might even add a cat in there just to make it a little fun.
2023 USC Cannes Classic Jury Award Winners
It may be tempting to denounce film festivals such as Cannes as displays of self-aggrandizement for the ultra-wealthy. Yet, standing in a packed…
Kubi: Kitano Chops Heads with Glee
Before he died, Akira Kurosawa predicted Takeshi Kitano’s long-gestating project Kubi, when made, can be a masterpiece on par with his own epic…
The Sweet East: Eccentricism, Exploitation, & Energy Like No Other
Talia Ryder being a girlboss for 104 straight minutes.
Last Summer: the Idyllic Pleasures of an Unimaginable Evil
Queen provocateur Catherine Breillat returns to narrative filmmaking and Cannes Competition after a decade-long absence with Last Summer. 75 and hemiplegic, Breillat is…
Only the River Flows: a Picture-Perfect Chinese Counterfeit Designer Crime Thriller
I hate the saying “style over substance” because it implies a dichotomy between those two things, when style itself can be substance. But…
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Don’t Threaten Me with a Good Time: on Richard Linklater’s Nouvelle Vague
There are few things that embody the spirit of Cannes more precisely than the experience of watching a film in which the characters…
Deciphering “Alpha”
Julia Ducournau’s Alpha is a film that I’ve found really hard to talk about. At Cannes, everyone talks about what movies they’ve loved,…
PC Williams on Grief, Legacy, and Lagos in ‘My Father’s Shadow’
PC Williams’ costumes tell the story.
Spike Lee Jumps High and Stoops Low in Kurosawa Homage ‘Highest 2 Lowest’
This then begs the question: why the remake? Perhaps Spike Lee has something to say about modern American conditions via a gritty crime…
‘Sound of Falling’ Notices You
Characters repetitively look into the center of the camera, generating an uneasy consciousness of the human spirit.
The Beauty of Fatherhood: ‘My Father’s Shadow’ Review
If you look at the world through professional wrestling, it’s simple. On one side there are the good guys, the faces. The honest…
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