Tag: top-stories
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...
The Cakemaker | Review
I’ll Never Have That Recipe Again: Graizer Glazes Quiet Drama with Bittersweet Longing
There’s an awful lot of complex intersectionality going on within Israeli director...
Video Interview: Xavier Legrand – Custody (Jusqu’à la garde)
Custody (also know as Jusqu'à la garde) posits the viewer in the fiery of domestic violence by way of its broken family of four....
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...
Victor Polster – Lukas Dhont’s Girl | 2018 Cannes Film Festival
Lara is an adolescent committed to becoming a professional ballerina and with the support of her father, she sees no limits to her pursuing...
This Is Home | Review
Home is Where the Heart is? Shiva Shines a Light on Refugee Life in America
Raging into its sixth year, with roughly half a million...
Interview: Damsel’s Chris Ohlson & Mia Wasikowska | 2018 Sundance Film Festival
A creative collaboration that was cemented on the Zellner Bros.' previous film, Kumiko, the Treasure Hunter (check out our trading card profile) which premiered...
Video: Zellner Bros.’ Damsel | 2018 Sundance Film Festival
Magnolia Pictures release Damsel in theatres tomorrow. Invited to the Berlin Film Festival shortly after its world premiere at the Sundance Film Festival, the Zellner Bros. were...
Jurassic World: Fallen Kingdom | Review
Thy Will Be Done: Bayona Burps a Blip in the Ongoing Dinosaur Franchise
Looking back, Steven Spielberg and Michael Crichton had already marred the magic...
Criterion Collection: Manila in the Claws of Light | Blu-ray Review
Before a modern art-house renaissance of Filipino cinema thanks to the international acclaim of directors like Lav Diaz and Brillante Mendoza (who have dominated...
The Conversation: Top 10 Films Mid-Year Ranking for 2018
Although most of 2018’s greatest cinematic delights thus far are holdovers from the 2017 film festival circuit (which may be largely ignored or forgotten...
Blame Canada: NEON Prescribes Nia DaCosta’s “Little Woods”
With impressive grades from its Tribeca Film Festival showing, NEON have swooped in to grab the North American rights to a directorial debut that...
Interview: Christina Choe – Nancy
We often relate the notion of identity with DNA, our given name as spelled out on an envelope, the social media account profile we...
Hereditary | Review
Inherit the Wind: Aster Conjures a Horror Classic with Masterful Debut
For those familiar with director Ari Aster’s body of short films, beginning with his...
Interview: Michael Pearce & Jessie Buckley – Beast
Unveiled at the Toronto International Film Festival in the Platform section with additional premieres at Sundance and Rotterdam earlier this year, Michael Pearce'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...
Video: Jaime Rosales’ Petra | 2018 Cannes Film Festival
Know for his deliberately difficult art-house films it's with this move away tragi-drama bliss where we're left scratching our head thinking why the hell...
Criterion Collection: Mishima: A Life in Four Chapters | Blu-ray Review
With unprecedented providence! Criterion re-releases Paul Schrader’s 1985 masterpiece Mishima: A Life in Four Chapters the same month the neglected auteur’s equally superb First...
Interview: Jennifer Fox – The Tale
Previously known for documentaries Beirut: The Last Home Movie (1987) and My Reincarnation (2011), producer and cinematographer Jennifer Fox just entered the narrative sphere....
On Chesil Beach | Review
On the Waterfront: Cooke’s Tender Adaptation of Sexual Aversion in 1960s England
A couple of newly weds hit an irresolvable and unpleasant barrier during their...
First Reformed | Review
Through a Glass Starkly: Schrader Delivers a Master Study on Despair and Extremism
Priests, and their psychic struggle with obligation to the cloth, have always...
Video: All the 2018 Cannes Film Festival Winners
After the ceremony is complete, the winners are shuttled from one last photo call and forwarded over to what is a quickie press conference...
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 Conversation: In the Cannes – 2018: Burning, Donbass & Climax Top the List
In a surprisingly unpredictable and overall enjoyable 71st edition of the Cannes Film Festival, the Cate Blanchett led jury awarded Hirokazu Kore-eda’s Shoplifters the...
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...
2018 Cannes Critics’ Panel: Day 10 – Matteo Garrone’s Dogman
After 2002’s The Embalmer and 2004’s First Love, Matteo Garrone would receive proper international acclaim with Gomorrah - winning the Grand Prix for the...
The Gentle Indifference Of The World | 2018 Cannes Film Festival Review
World, Hold On: Yerzhanov Conjures Camus with Doomed Love Story
Kazakhstani director Adilkhan Yerzhanov continues his fascination with Albert Camus in his latest feature, The...
2018 Cannes Critics’ Panel: Day 9 – Lee Chang-dong’s Burning
The former high-school teacher and an acclaimed novelist makes his movies like he writes his books - Lee Chang-dong's films take their time to...
2018 Cannes Critics’ Panel: Day 9 – David Robert Mitchell’s Under the Silver Lake
This Cannes edition becomes a 3-peat for director David Robert Mitchell. After unveiling (a rare SXSW Austin to Cannes trip) for The Myth of...
2018 Cannes Critics’ Panel: Day 9 – Stéphane Brizé’s At War (Un Autre Monde)
Now on eighth feature, in a year of few French filmmakers we are expecting another great performance from Stéphane Brizé's muse in Vincent Lindon...
2018 Cannes Critics’ Panel: Day 7 – Spike Lee’s BlacKkKlansman
With only Do the Right Thing (1989) and Jungle Fever (1991) as competition entries, it's been a long time coming for number three to...
2018 Cannes Critics’ Panel: Day 7 – Ryūsuke Hamaguchi’s Asako I & II
With his fifth feature in 2015's Happy Hours making a notable presence at and winning Locarno, Ryūsuke Hamaguchi's Cannes debut in Asako I &...
2018 Cannes Critics’ Panel: Day 7 – Hirokazu Kore-eda’s Shoplifters
Hirokazu Kore-eda‘s sixth trip to Cannes comes after Our Little Sister in 2015, and the one before that was Like Father, Like Son (which took home...
2018 Cannes Critics’ Panel: Day 6 – Alice Rohrwacher’s Happy as Lazzaro (Lazzaro Felice)
Winner of the 2nd highest prize offered at the Cannes Film Festival with her sophomore film The Wonders in 2014, and she previously made...
2018 Cannes Critics’ Panel: Day 6 – Jafar Panahi’s Three Faces
Winner for the Camera d'Or in 1995 (Directors' Fortnight) for The White Balloon, winner of the Un Certain Regard Jury for Crimson Gold in...
2018 Cannes Critics’ Panel: Day 6 – Eva Husson’s Girls of the Sun (Les filles du soleil)
Eva Husson tackles some heady subject matter with her third feature, and first Cannes entry. After shoring up at TIFF in 2015 with Bang...
2018 Cannes Critics’ Panel: Day 5 – Jia Zhangke’s Ash Is Purest White
An habitual of both Cannes and Venice, now in his third decade of filmmaking, Jia Zhangke first arrived in Cannes for 2002's Unknown Pleasures, then...
2018 Cannes Critics’ Panel: Day 5 – Jean-Luc Godard’s The Image Book (Le livre d’images)
Walking up and down the Croisette we are reminded of his presence at the festival with the 1965's Pierrot le Fou and so after...
2018 Cannes Critics’ Panel: Day 4 – Pawel Pawlikowski’s Cold War
Hailing from a docu background, Pawel Pawlikowski's sixth feature film in a little more than two decades sees the filmmaker reunite with Joanna Kulig...
2018 Cannes Critics’ Panel: Day 3 – Christophe Honoré’s Sorry Angel (Plaire, aimer et courir vite)
Only his second time in the competition (he was there in 2007 with Les chansons d'amour), Christophe Honoré has moonlighted with the Cannes film...
Filmworker | Review
By The Power Of Kubrick: Zierra’s Delightful Spotlight On Vitali Ultimately A Mixed Bag
Stanley Kubrick has inspired artists the world over, creating movies so...
2018 Cannes Critics’ Panel: Day 3 – Kirill Serebrennikov’s Summer (Leto)
Sadly, under house-arrest since post-production, Kirill Serebrennikov, the Russian stage, film director, and theatre designer would have loved the Croisette reaction to Summer (aka Leto). Following...
2018 Cannes Critics’ Panel: Day 2 – Abu Bakr Shawky’s Yomeddine
Rare are the films from debut filmmakers to crack the Competition line-up and perhaps the first title to be funded by a Kickstarter campaign, Yomeddine...
Revenge | Review
Follow The Blood Trails: Fargeat Impresses And Disappoints With Feature Debut
Coralie Fargeat’s feature debut makes a bold attempt at redirecting the well-worn rape and...
2018 Cannes Critics’ Panel: Day 1 – Asghar Farhadi’s Everybody Knows
Best known for winning a pair of Best Foreign Language Film for his films A Separation (2012) and The Salesman (2017) the festival opener...
