Pawel Pawlikowski’s COLD WAR is one of those films that you can respect but not outright love. Beautifully made but far more slight and bleaker... Read More
Other
[divider style=”normal” top=”20″ bottom=”20″] Rafiki director Wanuri Kahiu comes from a line of strong, forward-thinking women. Her mother, a doctor, was one of the first... Read More
[divider style=”normal” top=”20″ bottom=”20″] Ryan Coogler is the king. Of box office, that is. When his adaptation of the Marvel’s Black Panther comic book series... Read More
LAIKA, the animation studio behind the Academy Award® nominated Kubo and the Two Strings, The Boxtrolls, ParaNorman, and Coraline, announces its fifth and most ambitious... Read More
[divider style=”normal” top=”20″ bottom=”20″] The fracturing of an American family in 1960 is at the center of Wildlife (based on the novel by Richard Ford),... Read More
Kirill Serebrennikov’s LETO is a tribute to music, dreams of youth and the power – and beauty of ambition. Despite a masterful and at times... Read More
[divider style=”normal” top=”20″ bottom=”20″] Rarely do debut features play in competition at Cannes. In fact, of the debut features that played in the festival’s most... Read More
[divider style=”normal” top=”20″ bottom=”20″] Kena, short for Makena (played by Samantha Mugatsia) lives in the Slopes district of Nairobi, Kenya with her at-home mom and... Read More
In his follow-up to the Oscar-nominated EMBRACE OF THE SERPENT, Colombian director Ciro Guerra teams up with director Cristina Gallego to deliver a remarkable feature about... Read More
[divider style=”normal” top=”20″ bottom=”20″] Everybody Knows opens in an aging bell and clock tower of a quiet Spanish town. There are names of teenage paramours... Read More

Interview: Jen Malone on Crafting the Heartbreaking Soundtrack of ‘Love Story,’ and the Power of Music
‘A Woman’s Life’ Review: Léa Drucker Elevates an Uneven Portrait of Female Exhaustion [C] Cannes
‘Fjord’ Review: Cristian Mungiu Takes On Religious and Progressive Extremism in Exceptional Family Drama [A] Cannes
‘Bitter Christmas’ Review: And Just Like That… Cannes Almodóvar Really Have it All? [B+] Cannes
‘La Mas Dulce’ Review: Laïla Marrakchi Gives Visibility to Morocco’s Invisible Workers [B] Cannes
‘Garance’ Review: Jeanne Herry’s Underwhelming Alcoholic Actress Vehicle Deters the Turbulently Brilliant Adèle Exarchopoulos [C] Cannes
‘Clarissa’ Review: Sophie Okonedo Gets the Flowers Herself in Modern Day ‘Mrs. Dalloway’ [B+] Cannes
‘Full Phil’ Review: Kristen Stewart is in Peak Form in Quentin Dupieux’s Manic Father-Daughter Comedy [C+] Cannes
50th San Francisco International LGBTQ+ Film Festival (Frameline50) Lineup: John Early’s ‘Maddie’s Secret,’ Gregg Araki’s ‘I Want Your Sex’ and More
Madonna to Premiere ‘Confessions II’ Visual Album Film at 2026 Tribeca Festival
Cannes Review: Pawel Pawlikowski’s bleak and beautiful ‘Cold War’
Cannes Interview: Wanuri Kahiu on her film Rafiki and the future of African cinema
Ryan Coogler Talk Highlights Importance of Visibility and the Business of Filmmaking
Annapurna sets Spring 2019 release for LAIKA’s ‘Missing Link’
Cannes Review: Paul Dano’s assured directorial debut ‘Wildlife’ starring Carey Mulligan and Jake Gyllenhaal
Cannes Review: Kirill Serebrennikov’s arthouse crowdpleaser ‘Leto’
Cannes Review: A.B. Shawky’s gripping and emotional debut ‘Yomeddine’
Cannes Review: Wanuri Kahiu’s touching if familiar lesbian romance ‘Rafiki’
Cannes Review: Ciro Guerra and Cristina Gallego’s immersive and unforgettable ‘Birds of Passage’
Cannes Review: Asghar Farhadi’s ‘Everybody Knows’ is too safe and too slow to engage
Interview: Jen Malone on Crafting the Heartbreaking Soundtrack of ‘Love Story,’ and the Power of Music
‘A Woman’s Life’ Review: Léa Drucker Elevates an Uneven Portrait of Female Exhaustion [C] Cannes
‘Fjord’ Review: Cristian Mungiu Takes On Religious and Progressive Extremism in Exceptional Family Drama [A] Cannes
‘Bitter Christmas’ Review: And Just Like That… Cannes Almodóvar Really Have it All? [B+] Cannes