Smoke and Mirrors: Jia Zhangke’s “Torino Shadow” and Other Cannes Classics Shorts
It’s probably a bad sign for Cannes that one of the better films to play at this year’s fest was…
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Why is It So Hard to Love Teenage Sex and Death at Camp Miasma?
Teenage Sex and Death at Camp Miasma interrogates and perpetuates the “one for them, one for me” notion in equal…
Clarissa: Sometimes We Break Our Own hearts
“We all put our greatest fears behind us and settle.”
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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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Smoke and Mirrors: Jia Zhangke’s “Torino Shadow” and Other Cannes Classics Shorts
It’s probably a bad sign for Cannes that one of the better films to play at this year’s fest was a 30-minute museum…
Why is It So Hard to Love Teenage Sex and Death at Camp Miasma?
Teenage Sex and Death at Camp Miasma interrogates and perpetuates the “one for them, one for me” notion in equal measure.
Clarissa: Sometimes We Break Our Own hearts
“We all put our greatest fears behind us and settle.”
Minotaur’s Icy Eroticism
It’s hard to call Minotaur an erotic thriller, but its methodical approach to infidelity and war is just as compelling.
Butterfly Jam: It’s Not What You Think-Except It Is
I’m a sucker for intriguing titles, and because I had no idea whether the title was meant to be literal or metaphorical, I…
Discussing the Short Film “Queerbait” With Writer Director Nate Gualtieri
Seated at a cafe, across from the Marche Forville, I sat down with director and writer Nate Gualtieri to discuss his film Queerbait….
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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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Smoke and Mirrors: Jia Zhangke’s “Torino Shadow” and Other Cannes Classics Shorts
It’s probably a bad sign for Cannes that one of the better films to play at this year’s fest was a 30-minute museum…
Why is It So Hard to Love Teenage Sex and Death at Camp Miasma?
Teenage Sex and Death at Camp Miasma interrogates and perpetuates the “one for them, one for me” notion in equal measure.
Clarissa: Sometimes We Break Our Own hearts
“We all put our greatest fears behind us and settle.”
Minotaur’s Icy Eroticism
It’s hard to call Minotaur an erotic thriller, but its methodical approach to infidelity and war is just as compelling.
Butterfly Jam: It’s Not What You Think-Except It Is
I’m a sucker for intriguing titles, and because I had no idea whether the title was meant to be literal or metaphorical, I…
The Absence Of Color In “The Match”
I didn’t see The Match on purpose. My plan for the day had been to wait in line for something nearby, but after…
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The Complicated Act of Remembering in ‘Elephant’
When “resurrecting” a tragedy and adapting it to a cinematic form, the filmmaker must be aware that they are making it infinite.
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.
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