Tag: Cannes Film Festival
Lux Æterna | Review
Devil’s Familiars: Noé Stirs a Witches’ Brew in Latest Provocation
For those familiar with cult auteur Gaspar Noé, one either has a taste for his...
Sibyl | Review
Doctor Strange: Triet Gets Tricky with Autofiction Affair
Reuniting with Virginie Efira, the lead from her 2016 sophomore breakout Victoria (aka In Bed with Victoria),...
Matthias and Maxime | Review
Peas & Carrots: Dolan Gets Caught in a Bad Romance
Xavier Dolan devotees will be happy to note his latest feature, the treacly melodrama Matthias...
On a Magical Night | Review
A Room with a Screw: Honoré Waxes Playful on Marital Discord
The flexibility (or lack thereof) of fidelity in heteronormative relationships is at the center...
Bull | Review
If There Be Horns: Silverstein Succeeds with Discerning Debut of Rural Desperation
Likely to be compared to Chloe Zhao’s 2017 breakout The Rider, director Annie...
Bacurau | Review
It Takes a Village: Filho & Dornelles Smash Art-House into Grindhouse
A heady melding of local cultural motifs, morbid politically-minded histories and exploitation slasher vibes,...
The Whistlers | Review
If I Want to Whistle, I Whistle: Porumboiu Goes Mainstream with Neo-noir
Romanian New Wave alum Corneliu Porumboiu makes a marked departure with his latest...
Young Ahmed | Review
Stabbing Backwards: Dardennes “Beet” Misguided Youth into Submission
Up until now, even the most disenfranchised personage in Dardennian cinema had at least a glimmer of...
Interview: Kantemir Balagov – Beanpole
We sat down with director Kantemir Balagov at the 2019 Cannes Film Festival following the premiere of his sophomore film Beanpole in Un Certain...
Beanpole | Review
Life After Wartime: Balagov Crafts Exemplary Portrait of Post-WWII Role of Women
In the words of Plato, “Only the dead have seen the end of...
Portrait of a Lady on Fire | Review
Paint it Bright: Sciamma Dazzles with Career-Best, Ardent Period Drama
You only need a few seconds to fall in line with Céline Sciamma’s commanding directorial...
Little Joe | Review
Stamen Alive: Hausner Examines the Pursuit of Happiness in Cerebral Sci-Fi
It was “the nightmare that threatened the world” and something that came from “deep...
Frankie | Review
A Death in the Family: Sachs Sacks Huppert in Sun Dappled Soap Opera
The latest film from American director Ira Sachs is set in the...
The Lighthouse | Review
I Can Hear the Mermaids Singing: Eggers Unleashes a Hyper-Stylized Portrait of Nautical Madness
Virginia Woolf (who, having known something about the subject and its...
Once Upon a Time in Hollywood | Review
California Dreamin’: Tarantino Dons Nostalgic Pastiche of Doomed Decadence
The lurid fascination and mildewed devotion for the transitional glory days of late 1960s Hollywood, informed...
La femme de mon frère | 2019 Cannes Film Festival Review
Is There a Doctorate in the House? Chokri Skids and Skates without Moving
Moving from her award-winning short Quelqu'un d’extraordinaire (2013) debut which dealt with...
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...
Oleg | 2019 Cannes Film Festival Review
Immigrant Song: Kursietis Explores a Modern Slave Trade in Sophomore Film
Latvian cinema seems on the verge of an international breakthrough, with various new directors...
The Traitor | 2019 Cannes Film Festival Review
Witness for the Prosecution: Bellocchio Delivers Vigorous Portrait of the Man Who Took Down the Cosa Nostra
Italian auteur Marco Bellocchio, on the verge of...
Mektoub, My Love: Intermezzo | 2019 Cannes Film Festival Review
Dancing…Yeah: Kechiche Spins Like a Record Round in Vacuous Sequel
The French-Tunisian director who won the 2013 Palme d’Or for Blue is the Warmest Color...
Sick, Sick, Sick | 2019 Cannes Film Festival Review
Lover, Come Back: Furtado Hearts Hemoglobin in Sinister Debut
The heart is a lonely killer in Brazilian director Alice Furtado’s apprehensive narrative debut Sick, Sick,...
Parasite | 2019 Cannes Film Festival Review
A Judgement in Stone: Joon ho Tackles Privilege in Black Comedy
Strident class disparities in South Korea provide Bong Joon-ho with a novel approach to...
The Orphanage | 2019 Cannes Film Festival Review
Back in the U.S.S.R.: Sadat Goes Back to Soviet-Ruled Afghanistan in Amiable Sophomore Film
Following the success of her celebrated 2016 debut, Wolf and Sheep,...
Heroes Don’t Die | 2019 Cannes Film Festival Review
Crimes of the Heart: Rapin Explores Mediums as Remembrance with Inquisitive Debut
The idea of reincarnation was once a virulent staple of American genre films,...
Monia Chokri’s La Femme De Mon Frère | 2019 Cannes Film Festival
After dealing with separation necessity in her award-winning short Quelqu'un d'extraordinaire (2013), Monia Chokri's deals in separation anxiety with La Femme de mon frère (A Brother’s...
The Unknown Saint | 2019 Cannes Film Festival Review
Gimme the Loot: Money is the Root of Good and Evil in Aljem’s Debut
Love the sinner and not the sin seems to be the...
Annie Silverstein’s Bull | 2019 Cannes Film Festival
Not officially opening the section, but nonetheless the first film out of the Un Certain Regard gate, Annie Silverstein presented her directorial debut Bull...
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...
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...
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...
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...
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...
2018 Cannes Critics’ Panel: Lee Chang-dong’s Burning & Ceylan’s The Wild Pear Tree Top Our Chart with 3.8
Lee Chang-dong's Burning topped Le Film Francais and Screen Daily charts, but here at IONCINEMA.com those top honors (with 3.8 scores) were shared with...
The House That Jack Built | 2018 Cannes Film Festival Review
Lars and the Unreal Girls: The Danish Provocateur Pushes Buttons in Cruel, Grotesque Portrait of a Serial Killer
“O Muse, Recount to me the Causes”...
2018 Cannes Critics’ Panel: Chang-dong’s Burning Wins Personal Palme, Labaki’s Capernaum Favorite to win Palme
Nadine Labaki's Capernaum is the overwhelming favorite to win the Palme d'Or in just a little over one hour from now, but if our...
2018 Cannes Critics’ Panel: Day 12 – Yann Gonzalez’s Knife + Heart
Only his second film, and Yann Gonzalez has broke into the festival on both occasions. His 2013 debut You and the Night shored up...
2018 Cannes Critics’ Panel: Day 11 – Nadine Labaki’s Capharnaum
The Lebanese writer-director-actress started in the Director's Fortnight with Caramel in 2007, moved up to the UCR section with Lebanon 2011's with Where Do...
