Maren Ade has kept us waiting. It’s been seven years since her superb second feature Everyone Else premiered at the Berlinale, taking home the Jury Prize, and s...
We haven’t even reached the midway point of this year’s Cannes Film Festival, but it’s probably safe to assume that Nicole Garcia’s From the Land of the Moon wi...
European directors have often faltered when crossing the Atlantic. Billy Wilder and Wim Wenders found things to say where Paolo Sorrentino could not. American H...
CGI loses the day in Steven Spielberg’s The BFG, a partly motion-captured, eco-minded adaptation of Roald Dahl’s adored children’s book that leans so heavily on...
Park Chan-wook has often iterated his conviction that vengeance is a topic ripe for infinite cinematic treatments. Following the conclusion of his trilogy dedic...
Premiering in the Un Certain Regard section of this year’s Cannes Film Festival, The Dancer is an impassioned if formally conservative portrait of Loïe Fuller (...
More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. Bu...
It’s been two years since Ken Loach took Jimmy’s Hall -- a rather muted film by his standards, rumored at the time to be his swansong -- to the Competition here...
Italians certainly do worship their Mammas, or so goes the narrative of Marco Bellocchio’s Sweet Dreams, which opened the Cannes Director’s Fortnight sidebar to...
For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off h...
