Tag: World Cinema
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...
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...
Leto | 2018 Cannes Film Festival Review
Goodbye Lenin: Serebrennikov’s Vibrant Time Capsule More than a Feeling
Russian director Kirill Serebrennikov’s on-going house-arrest in Moscow lends his latest film, the period piece...
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...
Live from Cannes: 2018 Cannes Critics’ Panel – Meet the Jury!
Celebrating our seventh year, for the 71st edition of Cannes, we decided to switch things up for our Cannes Critics' Panel. First, we expanded...
Jeannette: The Childhood of Joan of Arc | Review
The Passion of the Joan: Dumont Approaches Ecclesiastical Fervor in Musical Comedy
If cinema could approach the same sacred realm as any pre-ordained religious doctrine,...
Interview: Olivia Newman – First Match | 2015 January Screenwriters Lab
Selected for SXSW Film Festival's Narrative Feature Competition, Olivia Newman's First Match (read review) picked up an audience award before quickly bowing over at Netflix....
Back to Burgundy | Review
Days of Wine and More Wine: Klapisch Delivers a Weak Vintage with Sibling Saga
French director Cedric Klapisch has enjoyed something of a singular, sanctified...
Interview: Samuel Maoz – Foxtrot
It's been almost a full decade since Venice Golden Lion 2009's Lebanon (check out our 2009 interview), so it was with considerable anticipation and curiosity as...
Ismael’s Ghosts (Director’s Cut) | Review
Call Me, Ismael: Desplechin Presents Jumbled Portrait of the Artist as a Dulled Man
Perhaps not since the quill of Charles Dickens, wherein iconic Ebenezer...
The New Romantic | 2018 SXSW Film Festival Review
You've Got Male: Stone Adds to the Win Column with Delightful Debut
The New Romantic is a dramedy for the next generation that poses a...
Bunga bunga: Paolo Sorrentino’s Loro Teaser with Salacious Toni Servillo (aka Silvio Berlusconi)
With Cannes just around the corner (and notably should be a great edition for Italian film), we have our first look at Loro with a...
Interview: Mani Haghighi – Pig | 2018 Berlin Intl. Film Festival
A thematic combination of his two last works A Dragon Arrives! (2016) and 50 Kilos of Sour Cherries (2016), Mani Haghighi's latest film follows the...
Interview: Bavo Defurne & Yves Verbraeken – Souvenir
We met with director Bavo Defurne and screenwriter Yves Verbraeken following the premiere of their sophomore collaboration Souvenir at the Toronto International Film Festival...
Foxtrot | Review
Dancing in Hollow: Maoz Moves Sharply between Shock, Grief & Absurdity
Israeli director Samuel Maoz was one of the most surprising Golden Lion winners in...
Criterion Collection: Tom Jones | Blu-ray Review
It’s difficult to imagine how an adaptation of Henry Fielding’s celebrated eight-hundred page-plus 1749 novel The History of Tom Jones, A Foundling would be...
Gloria Meet Gioria: Fabrice Du Welz Finds Lead for “Adoration” (EXCLUSIVE)
Showcased as part of the fierce acting quartet in the Venice Film Festival Silver Lion winning Xavier Legrand's Custody (Jusqu'à la garde), child actor...
Mug (Twarz) | 2018 Berlin Intl. Film Festival Review
Eyes Without a Face: Szumowska Constructs a Christ Figure in Melancholic Farce
Love is a many splendored thing, albeit something often compromised or mutilated by...
Interview: Lav Diaz – Season of the Devil (Ang Panahon ng Halimaw)
Economically shot by this auteur's standards (half the length of 2016's A Lullaby to the Sorrowful Mystery), Lav Diaz's just under four opus cleverly...
Interview: Andrey Zvyagintsev – Loveless
A master of complex family dramas, with Andrey Zvyagintsev's latest we are witness to abandonment and neglect via an intense investigation of the family torn apart...
Western | Review
German Cowboys Navigate Rocky Terrain in Brooding Drama
A film like Western simmers like a marshmallow on an open fire, never quite flaring up, but instead...
On the Milky Road | Review
Road to Nowhere: Kusturica Returns with Aimless War-Torn Fairy Tale
All’s certainly not fair in love nor war in Serbian director Emir Kusturica’s first film...
Top 100 Most Anticipated Foreign Films of 2018: #46. Gabriel Mascaro’s Overgod
Overgod
Brazil’s Gabriel Mascaro broke into international success with his provocative sophomore film Neon Bull (read review) in 2015, where it won a Special Jury Prize...
Don’t Torture a Duckling (1972) | Blu-ray Review
Arrow Video resurrects one of Italian horror maestro Luci Fulci’s (the Godfather of Gore) best but most obscure titles, the enigmatically titled Don’t Torture...
The Motive | 2017 Toronto International Film Festival Review
Master of the Universe: Cuenca Returns with Predictable Exercise on the Writing Process
If you can’t find a muse, make one. Or so might be...
Tulipani, Love, Honour and a Bicycle | 2017 Toronto International Film Festival Review
Tulip Fevered: Universality Found in Bulbs & Bicycle
In Dutch filmmaker Mike van Diem’s whimsical Tulipani: Love, Honour and a Bicycle, a young Canadian-Italian...
The Journey | 2017 Toronto International Film Festival Review
Salam Baghdad! Al-daradji Looks at Second Chances
A young woman walks into a crowded Baghdad train station, her finger poised on a detonator. Sara (played by newcomer...
Number One | 2017 Toronto International Film Festival Review
One is the Loneliest Number: Marshall Explores White Collar Gender Politics
Gender disparity in the workplace is hardly unique to the American job market, as...
