Tag: 2018 Cannes Film Festival
Donbass | Review
Come and See: Loznitsa Crafts Overwhelming Nightmare of Modern War-torn Ukraine
Dropping us directly into the wartime propaganda machine of modern-day eastern Ukraine, which has...
Interview: Ulrich Köhler – In My Room
Coming seven years after 2011's Sleeping Sickness (Schlafkrankheit) and his longest time off between features, after his feverish study of settler psychology in West...
Yomeddine | Review
Natural Selection: Shawky Shackled by Straight Story
Tackling notions of identity in both a figurative and transfigurative sense, Yomeddine teeters ever so lightly into fable terrain...
Under the Silver Lake | Review
Under the Sun of Satan: Mitchell’s Messy Neo Noir Revels in Elitist Superficiality
Look no further than David Robert Mitchell’s third feature, the labored neo...
Video: Bi Gan’s Long Day’s Journey Into Night | 2018 Cannes Film Festival
Known has the 3D film (where glasses are applied around the midway point), the best film playing in Cannes this year and reserved for...
Knife + Heart | Review
Your Vice is a Locked Room and Only I Have the Key Light: Gonzalez’s Queer Giallo a Dicey Mélange
Love as an overwhelming, all-consuming fire...
Ash Is Purest White | Review
Love is Like a Stove: Zhangke Tackles Genre in Time-Spanning Romance
Chinese auteur Jia Zhangke continues to experiment in tone and form with his latest...
Climax | Review
Don’t Stop Till You Get Enough: Noe Does Sensory Deception with Latest Dark Odyssey
Come again? Enfant terrible Gaspar Noe returns to cinema of...
Video: Gaspar Noé’s Climax | 2018 Cannes Film Festival
In terms of the narrative, it might be his most minimalist and arguably, this stands as Gaspar Noé's best film to date. In terms of...
Video: Cristina Gallego & Ciro Guerra’s Birds of Passage | 2018 Cannes Film Festival
They tend to always begin with a strong section opening film, and Cristina Gallego & Ciro Guerra's Birds of Passage (review) did not disappoint as...
Birds of Passage | Review
Wayuu of the Gun: Greed’s No Good in Guerra & Gallego’s Ganja Saga
Crime doesn’t pay, at least not for the indigenous Wayuu people in...
Everybody Knows (Todos Lo Saben) | Review
Iran So Far Away: Farhadi Stumbles with Spanish Soap Opera
Two-time Oscar-winning Iranian auteur Asghar Farhadi (A Separation; The Salesman) makes his Spanish-language debut with...
Cold War | Review
The Most Important Thing is to Love: Pawlikowski Delivers Beautifully Wrought, Chilly Amour Fou
Polish auteur Pawel Pawlikowski has had a curious trek to international...
Video: Romain Gavras’ The World is Yours (Le monde est à toi) | 2018 Cannes Film Festival
We haven't been bemused by gangsta comedy genre perhaps since Guy Ritchie's bumbling idiot films, and yet with this long anticipated sophomore film, Romain...
Shoplifters | Review
Ties That Bind: Koreeda Examines the Essence of Family from Unexpected Perspective
Anyone familiar with the cinema of Japanese auteur Hirokazu Koreeda already knows what...
Burning | Review
A Touch of Class: Chang-dong Returns with Masterful Class Clash
Puns concerns its slow build will be sincerely intended in forthcoming deliberations on South Korean...
Interview: Ali Abbasi – Border
Two years after Shelley, a horror film based on a Norse mythology and folktale, Ali Abbasi premiered the buzz heavy Border at the Cannes Film...
Video: Ali Abbassi’s Border | 2018 Cannes Film Festival
The surprise hit of the Un Certain Regard and kudos to the Benicio del Toro led jury on giving the section's top honors, Ali...
BlacKkKlansman | Review
Klan Destiny: Lee Returns with Strongest Joint in Years
Although not as finely wrought as his subversive (and underrated) 2015 Chi-raq, Spike Lee returns with...
Interview: Andréa Bescond & Eric Metayer – Little Tickles (Les chatouilles) | 2018 Cannes Film Festival
A creative collaboration that began in 2009 when Eric Métayer directed Andréa Bescond in her stage debut, the association proved fruitful as the pairing...
Interview: Irina Starshenbaum – Kirill Serebrennikov’s Leto | 2018 Cannes Film Festival
Two years after premiering an overtly political film in The Student (Un Certain Regard 2016), the gifted Russian filmmaker Kirill Serebrennikov returns to the...
Interview: Meryem Benm’Barek – Sofia | 2018 Cannes Film Festival
By way of the young, unmarried Moroccan titular protagonist, Meryem Benm'Barek cuts her teeth with a piece that looks at the unwanted pregnancy under the...
Interview: Adilkhan Yerzhanov – The Gentle Indifference of the World
His sixth feature film in almost as many years, and second trip to the Croisette following in the footsteps of The Owners (2014), Kazakh...
Interview: Lukas Dhont – Girl | 2018 Cannes Film Festival
In the same year that the Best Foreign Language Film Oscar winner A Fantastic Woman visited themes of identity and transition, Lukas Dhont's directorial...
Video: Luis Ortega’s El Angel | 2018 Cannes Film Festival
A shiny, glossy and slick Argentinian import with the Almodovar bros. as producers, the Un Certain Regard selected El Angel by helmer Luis Ortega...
Maria Monge’s Treat Me Like Fire (Joueurs) | 2018 Cannes Film Festival
Where Maria Monge's Treat Me Like Fire excels is in abiding by a frenetic fuelled street film that is more steeped in fantasy, than...