Cannes
Anatomy of a Fall (Anatomie d’une Chute)
As the first week of the 76th Cannes comes to a close, two motifs have crystallised as a…
By Selina SondermannSpecial
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Cannes
“Banel is a woman who fights to exist and live her passion in total freedom”: Ramata-Toulaye Sy on Banel & Adama
Banel & Adama is the feature directorial debut for Senegalese screenwriter Ramata-Toulaye Sy, in competition at Cannes Film…
By Sarah Bradbury
Cannes
“Never stop questioning”: Lubna Playoust on Room 999
Room 999 is the documentary feature debut from actor-turned-director Lubna Playoust, revisiting the concept of Wim Wenders's 1982…
By Sarah Bradbury
Cannes
Lost in the Night (Perdidos en la Noche)
Three years after the suspicious disappearance of his mother – a political activist campaigning against their Mexican village…
By Selina Sondermann
Cannes
“Why place refugees in deprived areas where the social infrastructure is already under pressure?”: Ken Loach on The Old Oak
Acclaimed British director Ken Loach has once again positioned himself in the limelight at Cannes Film Festival with…
By The editorial unit
Cannes
Firebrand
Even if Jude Law’s somewhat ruggedly attractive voice doesn’t always lend itself to Henry VIII’s psychotic bellows of…
By Matthew McMillan
Cannes
May December
May December works on the level of narrative metaphysicality that Todd Haynes has perched upon so proficiently over…
By Matthew McMillan
Cannes
The Zone of Interest
Scratch the surface of most art, and a study of duplexity will reveal itself – a tug of…
By Matthew McMillan
Cannes
“I wanted to deconstruct the clichés around social drama”: Paloma Sermon-Daï on It’s Raining in the House
It's Raining in the House is the Wallonia-set film from Belgian filmmaker Paloma Sermon-Daï, starring real-life teenage siblings…
By Sarah Bradbury
Cannes
Killers of the Flower Moon
It was the first film to be announced for this year’s lineup, and the still of Leonardo DiCaprio…
By Selina Sondermann