Tag: top-stories
Aisha Can’t Fly Away | 2025 Cannes Film Festival Review
Buliana Simon Shines In Gritty Immigrant Story That Struggles To Take Flight
As the opening credits reveal, Aisha Can’t Fly was developed with the support...
2025 Cannes Critics’ Panel: Day 7 – Julia Ducournau’s ‘Alpha’
Body horror, psychological issues, and social commentary best describe the cinema of Julia Ducournau and we could potentially find the same in what could...
Alpha | 2025 Cannes Film Festival Review
Turn to Stone: Ducournau Hits a Wall with Disease Allegory
“Death is the cure for all illness,” wrote English writer Thomas Browne, which is a...
2025 Cannes Critics’ Panel: Day 7 – Tarik Saleh’s ‘Eagles of the Republic’
Swedish filmmaker Tarik Saleh has been moving up from arthouse The Nile Hilton Incident (read ★★★ review) and genre items The Contractor (read ★★...
Eagles of the Republic | 2025 Cannes Film Festival Review
One Flew Over the Coup’s Nest: Saleh Muddles Through Propaganda Politics
“Propaganda, to be effective, must be believed. To be believed, it must be credible....
Dites-lui que je l’aime (Tell Her I Love Her) | 2025 Cannes Film Festival Review
The Family Tree Grows Tangled Roots In Romane Bohringer’s Metafictional Feature
Family can make you and family can break you apart. The ties that bind...
Meteors | 2025 Cannes Film Festival Review
Male Friendship Comes Apart In Hubert Charuel’s Assured Sophomore Feature
A meteorite enters Earth’s atmosphere moving up to 72 kilometers per second and (usually) burns...
The Richest Woman in the World | 2025 Cannes Film Festival Review
The Biggest Camel: Klifa Recruits Huppert to Spoof the Bettencourt Affair
Thierry Klifa, who continues to work some of the most notable grand dames of...
Sleepless City (Ciudad Sin Sueño) | 2025 Cannes Film Festival Review
A Boy & His Dog: Galoe Sweeps Through Slums in Restrained Debut
Home is where the heart is, but such a sentiment becomes difficult to...
The Secret Agent | 2025 Cannes Film Festival Review
Mischief, Thou Art Afoot: Filho Captivates with Seductive, Furtive Period Thriller
Pregnant with dread and jam-packed with homage to the tone and time of sweaty,...
2025 Cannes Critics’ Panel: Day 6 – Wes Anderson’s ‘The Phoenician Scheme’
With three previous films in the Cannes competition beginning with Moonrise Kingdom (2012), followed by 2011's The French Dispatch (read ★★ review) and 2023's...
2025 Cannes Critics’ Panel: Day 6 – Kleber Mendonça Filho’s ‘The Secret Agent’
A favorite filmmaker of the festival, and perhaps the best Brazilian filmmaker currently working, Kleber Mendonça Filho has been to Cannes on many occasions....
Nouvelle Vague | 2025 Cannes Film Festival Review
Make Me Lose My Breath: Linklater Meddles in Manicured Homage
It’s unclear what the exact purpose of Nouvelle Vague is meant to serve, other than...
2025 Cannes Critics’ Panel: Day 5 – Lynne Ramsay’s Die My Love
A Cannes Film Festival regular, British filmmaker Lynne Ramsay has five features under her belt and all of them have shored up on the...
Renoir | 2025 Cannes Film Festival Review
Family of Straw: Hayakawa Paints Busy Coming-of-Age Portrait
Going in the opposite direction of her 2022 debut Plan 75, a sci-fi meditation on Japan’s aging...
2025 Cannes Critics’ Panel: Day 5 – Richard Linklater’s ‘Nouvelle Vague’
This is Cannes Film Festival's third invite (second time competition) to veteran American indie filmmaker Richard Linklater. Oddly his first visit was almost two...
Die My Love | 2025 Cannes Film Festival Review
Images of Yellow Wallpaper: Ramsay Charts a Psychotic Break
For her first narrative feature in eight years, Lynne Ramsay returns with Die My Love, based...
2025 Cannes Critics’ Panel: Day 5 – Chie Hayakawa’s ‘Renoir’
Gradually making her presence known on the Croisette first with her Cinéfondation selected Niagara (2013) short, and eventually with 2022's Plan 75 - an...
Des preuves d’amour (Love Letters) | 2025 Cannes Film Festival Review
Evidence of Love: Douard’s Debut Reads Between the Lines of Maternal Affections
While it plays like something of a specific time capsule, Alice Douard’s Love...
I Only Rest In The Storm | 2025 Cannes Film Festival Review
White Impact: Pinho Explores the Ponderous Progress Through Post-Colonial Perceptions
“We never seem to be where we are,” remarks one of the characters in Pedro...
A Useful Ghost | 2025 Cannes Film Festival Review
Ghost in the Machine: Boonbunchachoke Ain’t Afraid of No Ghost
Spirits, in all their various forms, are an abiding fixture in Thai culture and folklore,...
La Danse des Renards (Wild Foxes) | 2025 Cannes Film Festival Review
Fox on the Run: Carnoy Explores Bruised Masculinity
Following the incestuous liaison of Catherine Breillat’s Last Summer (2023), Samuel Kircher (son of Irene Jacob) braces...
2025 Cannes Critics’ Panel: Day 4 – Ari Aster’s ‘Eddington’
Unless we count some items he produced, Ari Aster is one of the filmmakers coming to Cannes without any previous Croisette history. A standout...
2025 Cannes Critics’ Panel: Day 4 – Hafsia Herzi’s ‘La Petite Dernière’ (The Little Sister)
Actress-filmmaker (she forever stole our cinephile heart for her role in Abdellatif Kechiche's The Secret of the Grain back in 2007) Hafsia Herzi has...
Eddington | Review
No Country for Smart Men: Aster Satirizes the Obvious
It would seem all is actually for naught in Eddington, Ari Aster’s sprawling, meandering fourth and...
La petite dernière (The Little Sister) | 2025 Cannes Film Festival Review
The Lost Daughter: Herzi Passes Up Potency in Standard Adaptation
“My name is Fatima,” is one of the constant refrains utilized in Fatima Daas’ celebrated...
Que ma volonté soit faite (Her Will Be Done) | 2025 Cannes Film Festival Review
Burn Witch, Burn: Kowalski Nurses a Curse in Sinister Backwoods
For her sophomore feature Her Will Be Done (Que ma volonté soit faite), Julia Kowalski...
Kika | 2025 Cannes Film Festival Review
Belle de Jour: Mourning Becomes Sex Work in Poukine’s Debut
There’s arguably a slippery slope at work in Alexe Poukine’s narrative debut Kika, a far...
2025 Cannes Critics’ Panel: Day 3 – Óliver Laxe’s ‘Sirat’
When he was selected for the prestigious competition section this past April, Paris-born Spanish of Galician background filmmaker Óliver Laxe achieved a remarkable feat...
2025 Cannes Critics’ Panel: Day 3 – Dominik Moll’s ‘Dossier 137’
Known for a filmography heavy into psychological thriller portraits with noir and crime element trimmings, the French-German filmmaker saw his second and third features...
Sirat | 2025 Cannes Film Festival Review
A Bridge Too Far: Laxe Enters the Zone
“The Zone wants to be respected. Otherwise it will punish.” Aleksandr Kayadonvsky’s line from Tarkovsky’s existential sci-fi...
Dossier 137 | 2025 Cannes Film Festival Review
Investigation of Citizens Above Suspicion: Moll Persists with Police Procedural
Dominik Moll reunites with his usual collaborating scribe Gilles Marchand in Dossier 137, their third...
L’Engloutie (The Girl in the Snow) | 2025 Cannes Film Festival Review
Snow Way: Hémon Delivers Unwanted Help in the High Alps
A young, idealistic school teacher almost literally chooses her hill to die on in Louise...
Two Prosecutors | 2025 Cannes Film Festival Review
Ordeal by Innocence: Loznitsa Mines the Terrors of Naïveté
A good man is hard to find, and if one were to be found, he’s likely...
2025 Cannes Critics’ Panel: Day 2 – Sergei Loznitsa’s ‘Two Prosecutors’
The Belarusian born, Ukraine filmmaker has loaded up the Cannes Film Festival with what feels like an easy dozen offerings in both the docu...
2025 Cannes Critics’ Panel: Day 2 – Mascha Schilinski’s ‘Sound of Falling’
A little bit after this year's Berlinale, there was was a great deal of buzz surrounding a certain German title that opted for the...
Mission: Impossible – The Final Reckoning | Review
Tom Cruise Can’t Stunt His Way Out Of A Middling ‘Mission’ Finale
At this point in the Mission: Impossible series, franchise stewards — star Tom...
Sound of Falling | 2025 Cannes Film Festival Review
Women on the Verge of a Nervous Breakdown: Schilinksi Paints a Microcosm of Misogyny
The original title of Mascha Schilinski’s sophomore feature was The Doctor...
L’intérêt d’Adam | 2025 Cannes Film Festival Review
No Bandaid Solutions: Wandel’s Suffocating Drama Explores Collective Collateral Damage
Following her remarkable debut Playground (read review), Belgian auteur Laura Wandel moves from a harrowing...
Enzo | 2025 Cannes Film Festival Review
Call Me By Your Pain: Campillo Gently Guides Cantet’s Swan Song
Laurent Cantet was a filmmaker consistently concerned with humans existing on the margins, those...
IndieSponge Episode: 2025 Cannes Film Festival Palme d’Or Predictions
Before our official June relaunch, Kevin Jagernauth and I deliver our top three picks for what we believe has a firm chance at grabbing...
Leave One Day (Partir un Jour) | 2025 Cannes Film Festival Review
Chef’s Kiss: Bonnin Uses Familiar Recipe in Pleasant Debut
For her directorial debut, Partir un Jour (Leave One Day), based on her own 2021 Cesar...
Live From Cannes!!! Meet the Jury For Our 2025 Cannes Critics’ Panel
IONCINEMA.com has been gauging the pulse of the Palme d’Or competition since 2011. We first jumped into the water when trades such as Screen...
Love (Kjærlighet) | Review
Ain’t Nothin’ But Sex Misspelled: Haugerud Continues Quiet, Earnest Talking Cure Trilogy
Norwegian director Dag Johan Haugerud continues his sexuality-themed film trilogy (Sex/Dreams/Love) in Love,...
Sister Midnight | Review
Crazy On You: Kandhari’s Strange Fantasy of Madness
It’s been nearly twenty years since director Karan Kandhari’s 2005 debut Bye Bye Miss Goodnight (since then working on...
The Damned | Review
The Damned Do Cry: Minervini Details a Doomed Mission
For his first narrative feature, Roberto Minervini tackles another aspect of the evolving American identity with The...
Exclusive Clip: It’s Chill Vibes (for Now) in Pedro Pinho’s ‘I Only Rest In The Storm’
After premiering The Nothing Factory in the Directors' Fortnight section back in 2017, Portuguese filmmaker Pedro Pinho returns to Cannes this time with I...
Caught by the Tides | Review
The Tide is High: Zhangke Splices Thwarted Romance Across Changing Times
Filmmaker Jia Zhangke presents something of an experimental anomaly with his latest feature, Caught...
2025 Cannes: Bi Gan’s ‘Resurrection’ Makes the Palme d’Or Cut; Bourboulon, Jarecki, Akoka/Gueret Also Added
Finally, they would have been 22. Thierry Frémaux reportedly received Bi Gan's third feature film at the last possible moment and the reason it...
Black Tea | Review
Spill the Tea: Sissako Flounders with Tepid Brew
The level of ineptitude apparent in every regard of Black Tea, Abderrahmane Sissako’s first narrative feature in...
