Tag: 2022 Cannes Film Festival
Under the Fig Trees | Review
Figment of their Imagination: Sehiri’s Baskets Filled with Hope, Humor and Harsh Truths
There is a lot more behind the scenes drama that goes into...
A Male (Un Varón) | Review
Wild in the Streets: Hernandez Explores Toxic Trifecta of Violence, Masculinity and Poverty in Dour Debut
With a streetwise miserabilism as virile as anything from...
More Than Ever (Plus que jamais) | Review
When the Body Speaks: Krieps & Ulliel Fight for the Right Balance in Atef’s Final Voyage Drama
A too young to die portrait that sees...
Ashkal: The Tunisian Investigation | Review
Death in the Garden: Chebbi Debuts Eerie, Nuanced Murder Mystery
In a supremely frightening sense, the events transpiring in Ashkal (which means ‘shapes’ in Arabic) recalls...
Final Cut (Coupez!) | Review
Primetime Cut: Hazanavicius Returns to Absurdity with Overdone Zombie Remake
Michel Hazanavicius has certainly established his affection for the nonsensical, making a name for himself...
Scarlet (L’Envol) | Review
Come Sail Away: Marcello Runs Aground in Muddled Adaptation
Pietro Marcello returns to literature for inspiration in his third narrative feature (and French language debut),...
Interview: Charlotte Le Bon – Falcon Lake
Selected for the Directors' Fortnight in 2022, Charlotte Le Bon's assured directorial debut was among the highlights of the section and since its launch...
Falcon Lake | Review
Baptism by Water: Unrequited Longing & Fear Found in Le Bon's Simmering Debut
In a perfect swirl of the uninitiated and inhibition, in her directorial...
The Night of the 12th | Review
Hero Complex: Moll Refreshes Detective Procedural with Cat's Paw Narrative
With his early naughts (With a Friend Like Harry..., Lemming) and grisly disappearance thriller Only...
Butterfly Vision | Review
Coming Home: Nakonechnyi Explores Collateral Damage in Prescient Drama
While the near decade long conflict between Russian and Ukraine has spilled into full-blown war, a...
Interview: Manuela Martelli – Chile ’76
We had some formidable directorial debuts stretching across the Croisette this past May. At the Critics' Week, we had Charlotte Wells' gem Aftersun, in...
R.M.N. | Review
On a Racist Day You Can See Forever: Mungiu Confronts Nationalism in Fractious Drama
On the surface, R.M.N., the latest feature from Romanian New Wave...
Plan 75 | Review
Aging Disgracefully: Hayakawa Questions Institutional & Internalized Ageism
If a septuagenarian falls in a forest and no one is around to hear it, does it...
Showing Up | Review
Bird is the Word: Reichardt Returns with Warm Portrait of Art and Ennui
To some it may seem too slight and to others just right,...
Tori et Lokita | Review
Suffer the Children: The Dardenne Bros. Trend of Neorealism Continues in Dismal Portrait of Migrant Children
The Dardenne Bros. have built a significant filmography showcasing...
Les Cinq diables (The Five Devils) | Review
Devil May Care: Mysius Delivers Intriguing but Disappointing Romantic Genre Mishmash
For her sophomore feature debut, director/screenwriter Léa Mysius aims high and falls hard with...
Rodéo | Review
All Gas No Brakes: Quivoron’s Debut Fails to Hit Pay Dirt
Further exploring the dirt-bike sub-culture she first examined in her short Dreaming of Baltimore...
Return to Seoul | Review
Do You Know Where You’re Going To?: Chou Explores Identity & Adoption Through Complex Character Portrait
Davy Chou returns with an intimate, unpredictable portrait of...
Pacifiction (Tourment sur les îles) | Review
Tropical Malady: Control is an Illusion in Serra’s Colonialist Quagmire
Literally and figuratively, Pacifiction (Tourment sur les îles), the latest from the cerebral Spanish director Albert...
Interview: Shaunak Sen – All That Breathes
Painterly and humour-filled, All That Breathes is poetic lyricism rendered on both the micro and the macro level. Weaving together philosophical, political, economic challenges...
Close | Review
The Children’s Hour: Dhont Explores Unspoken Realities in Masterful Drama
The essence of Close, the sophomore film from Belgium’s Lukas Dhont, is akin to the...
Un beau matin (One Fine Morning) | Review
All the Mornings in the World: Seydoux Burns Bright in Hansen-Love’s Moving Drama
Hannah Arendt succinctly remarked on the inference between 'doing' and 'understanding' in...
Cairo Conspiracy | Review
You Gotta Have Faith: Saleh Explores Corruption of Institutions in Procedural Thriller
“Power is a double edged sword. Sometimes it cuts the hand that wields...
Nostalgia | Review
You Can’t Go Home Again: Martone’s Latest Asserts the Past is a Dangerous Place
In yet another foray into the teeming possibilities of Naples, Mario...
Broker | Review
Be My Little Baby: Kore-eda Gets Weepy with Sentimental Adoption Drama
Hirokazu Kore-eda, Japan’s esteemed purveyor of domestic melancholy, continues with his bid for...
Corsage | Review
Waist of Time: Sissi is no Sissy in Kreutzer’s Rebel Biopic
The foreboding restraints of an upper body female garment figuratively represent the repression and...
The Super 8 Years | Review
Parting Glances: Ernaux Ponders the Past with Intimate Documentary Debut
Although a prominent novelist in France over the past several decades, writer Annie Ernaux has...
Eo | Review
Donkey Skin: Skolimowski Restages Bresson for the Modern Age
Robert Bresson’s 1966 film Au Hasard Balthazar is considered a masterpiece, though its reputation took a...
Holy Spider | Review
Thrill Crazy. Kill Crazy. God Crazy: Abbasi Tackles Brutal Reality of Women and Islamofascism
“Every man shall meet what he wishes to avoid,” is the...
Armageddon Time | Review
A Great White Hype: Gray Explores the Farce of the American Dream in Coming of Age Portrait
Where are we going? Where have we been?...
Decision to Leave | Review
Suspicious Minds: Park-wook Returns with Thriller of Diminishing Returns
For the first hour of its lengthy running time, Decision to Leave, Park Chan-wook’s first theatrical...
Stars at Noon | Review
White Material: Denis Heats Up with Sinister, Nervy Romance
Claire Denis leaves behind the Sandinistas of 1984 Nicaragua for Stars at Noon, based on the...
Triangle of Sadness | Review
Voyage of the Damned: Östlund Frowns Down Upon Hardwired Human Folly in Devious Satire
Ruben Östlund has built an impressive filmography satirizing social norms, with...
God’s Creatures | Review
Come On, Aileen: Holmer & Davis Craft Old-Fashioned, Straightforward Thriller
Parents lying to protect their children’s potentially heinous crimes is a popular motif in arthouse...
The Silent Twins | Review
Sistas With(out) Voices: Smoczynska Revisits Case Study of Antisocial Twins
Poland’s Agnieszka Smoczynska makes her English language debut with third feature The Silent Twins, based...
2022 Cannes Film Festival Winners [Video]
We cap off our coverage of every Cannes Film Festival edition with the press room presentations of all of the evening's winners. Swedish helmer...
2022 Cannes Coverage Wrap-Up: Competition
Armageddon Time - James Gray
Boy from Heaven - Tarik Saleh
Broker - Hirokazu Kore-eda
Frère et sœur - Arnaud Desplechin
Close - Lukas...
2022 Cannes Coverage Wrap-Up: Un Certain Regard
All the People I'll Never Be - Davy Chou
The Blue Caftan - Maryam Touzani
Burning Days - Emin Alper
Butterfly Vision - Maksym Nakonechnyi
Corsage -...
2022 Cannes Coverage Wrap-Up: Directors’ Fortnight
1976 - Manuela Martelli
Ashkal - Youssef Chebbi
The Dam - Ali Cherri
Continental Drift (South) - Lionel Baier
Enys Men - Mark Jenkin
De...
2022 Cannes Coverage Wrap-Up: Critics’ Week
Aftersun - Charlotte Wells
Alma viva - Cristèle Alves Meira
Imagine - Ali Behrad
La jauría - Andrés Ramírez Pulido
Love According to Dalva - Emmanuelle...
Crimes of the Future | Review
Origin of the Neo-Species: Cronenberg Crafts a Discourse on Human Evolution
Whatever the evolution happening in the world of David Cronenberg’s Crimes of the Future,...
Top Gun: Maverick | Review
Take My Guilt Away: Kosinski Avoids Cruise Control in Enjoyable Action Sequel
Against all odds, especially considering how unnecessary a sequel seems to be...
Masquerade | 2022 Cannes Film Festival Review
Dirty Rotten Scoundrels: Bedos Takes the Grift Shift in French Riviera Crime Caper
For a film opening with W. Somerset Maugham’s line, “The French Riviera...
Un petit frère (Mother and Son) | 2022 Cannes Film Festival Review
Life in Rouen: Serraille Stacks Perspectives in Muted Tale of Immigration and Identity
After taking home the Camera d’Or for her 2017 feature Jeune Femme,...
Cannes Critics’ Panel: Lukas Dhont’s Close Edges Out Crimes of the Future as Best Rated Film in 2022
It will have been a nail-biting final vote that determined the official top film among our 2022 Cannes Critics’ Panel. Lukas Dhont's Close finishes...
2022 Cannes Critics’ Panel: Lukas Dhont’s Close Heavy Favorite to Win the Palme d’Or
Twelve of our twenty critics believe that Lukas Dhont's Close will walk away with the Palme d'Or this evening. Leila's Brothers places second on...
2022 Cannes Critics’ Panel: Day 11 – Léonor Serraille’s Mother and Son (Un petit frère)
And the last film in competition is another sophomore feature film. Léonor Serraille of course won the Camera d'Or for Jeune Femme (aka Montparnasse...
2022 Cannes Critics’ Panel: Day 10 – Lukas Dhont’s Close
His Un Certain Regard selected debut film Girl claimed the Camera d’Or, FIPRESCI Prize, Un Certain Regard Jury Award for Best Performance, and the...
2022 Cannes Critics’ Panel: Day 11 – Kelly Reichardt’s Showing Up
Feted on the Croisette this year - receiving the Carrosse d'Or award from the Directors' Fortnight, Kelly Reichardt had to wait until the last...
2022 Cannes Critics’ Panel: Day 10 – Hirokazu Kore-Eda’s Broker
A previous Palme d'Or winner (Shoplifters), Broker becomes Hirokazu Kore-Eda's eighth trip to Cannes - this follows Distance (2001), Nobody Knows (2004), Air Doll...
