
Cannes 2025: Left-Handed Girl, Sirât
Today’s dispatch includes a Sean Baker production and the latest from Oliver Laxe.
Today’s dispatch includes a Sean Baker production and the latest from Oliver Laxe.
Despite the elegant production design and admirable effects, “Murderbot” feels like a sci-fi comedy still searching for identity.
The opening days of the fest included strong words from Palme recipient Robert De Niro on our present political moment.
Despite the occasional unevenness, it’s one of the most promising comedies to hit television in recent memory.
A look at the restoration-centered film festival, playing this week at the Jacob Burns Film Center.
Three films tackle deliberately paced tales of people struggling against governmental and bureaucratic systems.
On two challenging dramas from the first full day of Cannes.
The opening night of the fest features a lackluster new release and a venerated classic.
The sketches that work best do so in spite of the scatology, not because of it.
Josh Holloway is back in a fun throwback show that works when it remembers to be escapism.
A look at the incredible slate of classic films playing at Cannes this year.
A preview of the 78th Cannes Film Festival.
Remembering the mother of the writer’s first two wives.
A review of the new DOOM game from someone who has been playing this series for three decades.
Season 2 continues the show’s episodic tradition in fine form, while finding a few corners in which to shake up Charlie’s world.
Looking at four figures who can help us through these troubled times.
An interview with Dea Kulumbegashvili, the director of the critically acclaimed “April.”
An endearing documentary short between a filmmaker, her mother, and a very curious collection.
On one of Altman’s best late-period film.