Book adaptations yield two kinds of films: those that transliterate and those that translate. While the former insist on keeping the source material's spir...
What is love? For some, it is mutuality––a chemistry, care, and concern that blossoms into an equally supportive relationship. For others, it is devotion––...
For the second time in three years, Cannes' competition ends with a film in which Josh O’Connor plays a scruffy, late-20th-century man with some knack for ...
It’s common for a successful artist to be asked about advice they'd give their younger self; one film from this year’s Cannes Specials selection does the oppos...
Few filmmakers with just two features under their belt can amass the passionate, cinephilic following of Bi Gan. His blend of surrealist storytelling, ultr...
Laura Wandel left a lasting impression with her debut feature Playground, a character study of a very young girl during her first school days, and was lauded f...
Over a delicately structured, Mike Mills-ian montage of Nora Berg’s (Renate Reinsve) personal heritage––30-odd years of an Oslo native’s existence relayed ...
It’s strange to hear backwood Appalachian fiddle folk in a French theater at the hand of a South African director portraying the queer, song-collecting lives o...
If you were handed over the man who destroyed your life and those of countless others––a psychopath who tortured, raped, and murdered in the name of a tyra...
I could name few living filmmakers better equipped for the Western than Alessio Rigo de Righi and Matteo Zoppis. The duo behind The Tale of King Crab––a film I...
