With his Deception, Desplechin renders one of a great author’s slighter works titanic by comparison.
Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
Many of the selections at this year’s festival were genre films, or, at least, exhibited notable genre-adjacent elements.
Ismael’s Ghosts simultaneously collapses and expands Arnaud Desplechin’s entire body of work.
Desplechin’s Ismael’s Ghosts is a lucid, free-form sprawl of stories nested within stories.
The director spoke to us about his writing process, his fondness for Goodfellas, and more.
A buoyant tribute, even if the pedigree of the project implies something more paradigm-shifting.
Arnaud Desplechin tries his hand at a coming-of-age tale with My Golden Days, and does so with equal doses of mature reflection and youthful impetuosity.
Too often the film seems to struggle in making its interesting ideas apparent, leaving them stranded beneath the dry surface of an otherwise ordinary procedural.
This Christmas, no Arnaud Desplechin fan should be without a Blu-ray player.
Desplechin’s familial trauma is constant, but his art is for himself.
I am not alone, I am certain, in coming late to the Arnaud Desplechin party poised to jump off this winter.
Arnaud Desplechin doesn’t so much direct movies as conduct marathons.
Blindness feels less like a metaphor for urban isolation than just a zombie movie in which the zombies decided not to show up.
After the disappointment of Blindness on day one, I enter day two ready to make the most of my time here in Cannes.
Kings and Queen is at once Arnaud Desplechin’s most straightforward and scattershot creation.