Deciphering “Alpha”
Julia Ducournau’s Alpha is a film that I’ve found really hard to talk about. At Cannes, everyone talks about what…
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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…
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Josh Mond on ‘It Doesn’t Matter’, Independent Filmmaking, and Creative Evolution
This afternoon, director Josh Mond took a moment away from the whirlwind of Cannes to discuss his latest film, It Doesn’t Matter, which…
The Fast and the Furiosa: A Frenzied Ride at the End of the World
The film follows Furiosa’s evolution from kidnapped little girl to ferocious road warrior.
Anxieties About the Future of Cinema at Cannes
After a year in the film industry dominated by conversations about artificial intelligence, it feels fitting that The 77th Cannes Film Festival opened…
No One Here is Alone: on Bird
After learning that her father, Bug (Barry Keoghan), has become engaged to his girlfriend of three months, twelve-year-old Bailey (Nykiya Adams) spends the…
Once Upon a Time Michel Legrand: Le Grand Artiste, Le Grand Documentaire!
For just a few hours, Michel Legrand was alive again.
Rafaat einy ll sama (The Brink of Dreams): Follow Young Egyptian Women Follow Their Hearts
Rafaat einy Il sama is a documentary that covers the lives of a group of bright adolescent Egyptian women who all participate in…
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Caligula: The Ultimate Cut is a Waste of a Restoration
Point blank, Caligula: The Ultimate Cut is a terrible movie. Read to find out why.
Occupied City: Amsterdam’s Painful History Emotionally Distanced by Steve McQueen’s Objective Approach
Occupied City is a comprehensive history of the city of Amsterdam, specifically telling stories of places within the city related to the Nazi…
L’Amour Fou: Jacques Rivette’s Early Potential Unleashed
For my very first day in Cannes and very first screening, I watched Jacques Rivette’s L’Amour Fou (1969).
L’Amour Fou: A Self-Indulgent Roller Coaster of Pent-Up Anger
His descent into madness comes from his inability to separate his personal life with the power trip that having full control over a…
Sleep: Korean Comedy-Horror Too Refined for Its Own Good
Contrary to a title that suggests an Apichatpong Weerasethakul–style slow cinema experiment in collective dreaming, Sleep is a Korean comedy-horror billed as the…
The Zone of Interest: Jonathan Glazer Presents the Holocaust in the Present
The very unprolific Jonathan Glazer makes his return to cinema—and, shockingly, his Cannes debut—with The Zone of Interest. An Auschwitz drama in German…
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Journal: Day 0 (Part I)
We share our thoughts as we fly into France.
Journal: Day 0 (Part I)
We share our thoughts as we fly into France.
Review: Coupez !
Remake of Japanese horror farce does not live up to the original.
Journal: Day 1
How is the Festival going to top this?
Journal: Day 0 (Part II)
We share more thoughts as we arrive at France!
Review: Scarlet
The inexplicable charm of Pietro Marcello’s new film presents itself in a curlicued elegance.
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PC Williams on Grief, Legacy, and Lagos in ‘My Father’s Shadow’
PC Williams’ costumes tell the story.
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…
Pillion: Finally, Some Good F*cking F*cking
I watched Babygirl over Christmas break this past year while I was home in San Diego. None of my family wanted to go…
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…
“A Real Bolshevik”: Two Prosecutors, Reviewed
Two Prosecutors, the latest film from Ukranian director Sergei Loznitsa, opens with a title card both perfunctory and pointed: “1937, the Height of…
‘Sound of Falling’ Notices You
Characters repetitively look into the center of the camera, generating an uneasy consciousness of the human spirit.
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Coming Soon
Shia LaBeouf and Crimes Against Humanity in Slauson Rec
Actor Shia LaBeouf re-examines the question of whether it’s better to be feared or loved in new documentary out of Cannes Classics.
The restoration of ‘Gehenu Lamai’ glistens at Cannes Classics
Watching Sumitra Peries’ restored ‘Gehenu Lamai’ (The Girls) at its Cannes Classics premiere felt like witnessing a beautiful feat of magic. Almost half…
L’Amour Fou: A Self-Indulgent Roller Coaster of Pent-Up Anger
His descent into madness comes from his inability to separate his personal life with the power trip that having full control over a…
L’Amour Fou: Jacques Rivette’s Early Potential Unleashed
For my very first day in Cannes and very first screening, I watched Jacques Rivette’s L’Amour Fou (1969).
Caligula: The Ultimate Cut is a Waste of a Restoration
Point blank, Caligula: The Ultimate Cut is a terrible movie. Read to find out why.
Review: La Maman et la Putain
Three’s company in this romcom that doubles as an exploration of a singular mind.
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