This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Drive’s narrative trajectory goes down a long and winding road into hell.
Across his latest, Almodóvar melds his consistent themes with an unsettling combination of warm compositions and sinister desires.
The sky is falling in Melancholia, but the impending apocalypse is more slow-motion dive than outlandish spectacle.
Immigration politics are at the forefront of Le Havre.
Can any critic fully trust their initial reaction to such a thematically mammoth film like Terrence Malick’s The Tree of Life?
Hollywood is a windfall business.
Stylistically, The Kid with a Bike is one of the Dardennes’ most fluid films.
Nanny Moretti’s warm and affecting Habemus Papam couldn’t be farther from Miss Bala in style.
The drinks that go down amiably in Hahaha get caught in people’s throats in On Tour.
Lynne Ramsay returns to the world of filmmaking after a nine-year hiatus, and we’re all the better for it.
The narrative trajectory of Midnight in Paris may be one-note, but it’s a lovely and charming one.
If Cannes is the cinephile’s version of the Olympics, the media critics covering the event are its long-distance runners.
Steve Coogan is brilliant…and has to still tell us so.
I have to make a screening so this has to be a short one. Insert acknowledgement of the double entendre.
If you’re like me, you enjoy that hearty, full-bodied, elemental component of language that is the swear word.
The unique thing about the festival is that no one is trying to sell their movie.
Gun Fight boils down to conflicting interpretations of what defines America.
Like transmissions from another time or dimension, Julia Haslett’s personal journey bleeds into her biography of Weil.
Chocolate-covered scallops, anyone?
Full Frame this year offered a programmatic theme notable in the variety of its manifestations: obsession.