Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.
Jason Gorber shares his thoughts on Cannes selections "Loving," "The Handmaiden," "Paterson," and "Toni Erdmann."
When I began as a film critic, Jean-Luc Godard was widely thought to have reinvented the cinema with "Breathless" (1960). Now he is almost 80 and has made what is said to be his last film, and he's still at the job, reinventing. If only he had stopped while he was ahead. That would have been sometime in the 1970s. Maybe the 1980s. For sure, the 1990s. Without a doubt, before he made his Cannes entry, "Film: Socialisme."
The thousands of seats in the Auditorium Debussy were jammed, and many were turned away. We lucky ones sat in devout attention to this film, such is the spell Godard still casts. There is an abiding belief that he has something radical and new to tell us. It is doubtful that anyone else could have made this film and found an audience for it.
A review of the latest from Olivier Assayas and Jeff Nichols.
An interview with actress Catherine Deneuve at the Cannes Film Festival.
Top lessons from Cannes; How Jodie Foster stays real; Rave review of "American Honey"; Apocalyptic air hangs over Cannes; How Cannes turned into a frenzied mammoth.
Reviews of "I, Daniel Blake," "Sieranevada" and "Staying Vertical."
Three new films from Cannes 2016, including the latest by Jim Jarmusch.
Roger Ebert reviews David Lynch's "Wild at Heart" at the Cannes Film Festival.
Ben Kenigsberg introduces the Cannes Film Festival's sidebars and discusses Pablo Larrain's "Neruda."
A table of contents featuring our complete coverage of the 2016 Cannes Film Festival.