McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels…
Roger Ebert reports from the AmFAR charity auction at Cannes.
Laura Poitras's "Risk," on WikiLeaks, and Paul Schrader's "Dog Eat Dog," a noir, have their premieres at the 2016 Cannes Film Festival.
Reviews from Cannes of Cristian Mungiu's "Graduation" and Nicolas Winding Refn's "The Neon Demon."
An amusing vignette about dining in Cannes.
Reviews from Cannes of the latest films from the Dardennes brothers, Behnam Behzadi and Xavier Dolan.
Roger Ebert discusses Bille August's "Best Intentions" and Ron Howard's "Far And Away" at Cannes.
Three new films from Cannes 2016, including the latest from Pedro Almodóvar.
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.