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, Hazanavicius co-opts Godard’s personal life for cheap prestige-picture sentiment.
Happy End is an empathetic portrait of personal grief as it’s experienced in a desensitized first-world society.
The film feels lived-in despite its glaringly mannered dialogue and charmingly eccentric characterizations.
The flexibility of French director Bruno Dumont’s spiritualism makes the film compelling.
Claire Denis’s Let the Sunshine In is an exquisite romantic comedy whose laughs are sad and whose sadness is funny.
Okja suggests that the sarcastic humor of South Korean auteur Bong Joon-ho’s best films doesn’t translate well.
The meticulousness of Haynes’s execution overburdens his work’s conceptually exhilarating sense of wonder.
Desplechin’s Ismael’s Ghosts is a lucid, free-form sprawl of stories nested within stories.
Coming into this year’s Cannes Film Festival, it looked like the programmers had come up with one of their strongest lineups in a long time.
Francisco Márquez and Andrea Testa’s film interrogates what it means to stay on the sidelines during a military government and asks whether such a stance is possible.
Verhoeven’s Elle insists on realizing its central character through bold eccentricities.
For the Dardennes, this is typical moral-message territory, which they approach too deliberately.
Dolan adapts a talky play into something that could feasibly have the same emotional effect as a silent film.
Mendonça Filho’s message in Aquarius is for a Brazil to recognize the strength and power of its heritage.
No other film at Cannes this year has had quite the same shock of the strange as Olivier Assayas’s latest.
For Assayas and Almodóvar, their films represent holding patterns like those that their characters can’t escape from.
Maren Ade possesses as fine an instinct for calibrating the emotions of her characters as any working director.