‘L’Abandon’ (Forsaken) Review: Can a Movie Shed its Money?
On my fifth day at the Cannes International Film Festival, a woman approached me to ask if I had seen…
Cannes
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Interview with Director Katharina Rivilis Following Cannes Premiere of ‘I’ll Be Gone in June’
Away from the clamour of the Cannes Competition, the festival’s Un Certain Regard section offers a space for films that…
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A complex liminal space in ‘All the Lovers in the Night’
Director Yukiko Sode premiered her fourth feature, “All the Lovers in the Night,” at the Cannes International Film Festival last…
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Thank God for ‘Club Kid’
Writer, actor and comedian Jordan Firstman’s directorial debut, “Club Kid,” made waves at this year’s Cannes International Film Festival. The…
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Spirits, Sisterhood and Family Dysfunction Abound in ‘Forever Your Maternal Animal’
Contemporary independent films are awash in complicated families. Whether it’s the feuding father-daughter artists in “Sentimental Value” or the sibling…
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Cannes Debut: A Conversation with Filmmaker Lenti Liang Before and After the Screening of ‘Our Secrets’
Not many young filmmakers can add a Cannes International Film Festival debut to their resume shortly after graduating — but…
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Neglecting the necessary: Was Koji Fukada’s ‘Nagi Notes’ an apolitical letdown?
With a body of work that varies from short films told from the point of view of a motel bed…
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Paweł Pawlikowski’s striking Cannes standout, ‘Fatherland’
Postwar Europe is nothing new for Polish “Fatherland” writer and director Paweł Pawlikowski. Known best for “Cold War” and “Ida,”…
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Don’t Watch Yourself, Watch the Movie: ‘Teenage Sex and Death at Camp Miasma’
Jane Schoenbrun isn’t one for subtlety. Although their sophomore breakthrough “I Saw The TV Glow” was derided by some for…
