There’s a certain formula that often defines the recipients of Cannes’s most prestigious prize.
Many of the selections at this year’s festival were genre films, or, at least, exhibited notable genre-adjacent elements.
In addition to Directors’ Fortnight, the festival announced the films that would screen as part of the ACID lineup.
Perhaps as notable as what made the cut is what didn’t make it onto the lineup.
The Wild Pear Tree sees Nuri Bilge Ceylan in a kind of self-aware dialogue with himself about the methodologies of his work.
Hopefully the arguments against Capernaum from the more discerning jury members will be strong enough to keep Nadine Labaki’s film from taking the Palme d’Or.
It feels like Lee Chang-dong’s most reflexive comment on the dramatic possibilities of his favored narrative form.
Gaspar Noé’s relative narrative economy allows for Climax to feel like only a disappointing missed opportunity.
Christophe Honoré’s playful pop instincts are on display throughout Sorry Angel in short, affecting bursts.
This morning, the lineup for the 71st Cannes Film Festival was revealed.
Cannes isn’t the Oscars, but there’s still a certain formula that often defines the recipients of the Palme d’Or.
A very charitable reading might say that Roman Polanski’s Based on a True Story is designed to be self-negating.
You Were Never Really Here is possibly the most thrillingly unclassifiable film to play at this year’s Cannes.
Robin Campillo’s 120 Beats Per Minute offers more than just the compelling social-realist ideas on its surface.
Good Time is at its strongest when it keys its intoxicating aesthetic to Robert Pattinson’s performance.
Claire’s Camera is one of Hong Sang-soo’s most formally intuitive and sharply written films in some time.
Sofia Coppola is faithful to the trajectory of Thomas Cullinan’s original story while reorienting our allegiances.
Mohammad Rasoulof and Abbas Kiarostami’s films ask fundamental questions without proffering easy answers.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.
With Redoubtable, Michel Hazanavicius co-opts Godard’s personal life for cheap prestige-picture sentiment.