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The work of Ukraine’s singular and prolific Kira Muratova – best known for 1989’s Asthenic Syndrome, but spanning the Soviet Thaw and two decades post-perestroika – remains critically neglected. Is it just too unflinching, asks Birgit Beumers.
Friday 15 June 2018
The nightmare to E.T.’s dream of a home-invading paranormal father figure, Sidney J. Furie’s radical 1982 horror film The Entity connects contemporary articulations of abusive, gaslighting patriarchy with the Gothic tradition’s ambiguous explorations of Evil, says Brad Stevens.
Monday 11 June 2018
The Cannes Film Festival can seem like cinema’s impregnable citadel on a hill – but one of its modernising initiatives for 2018 was a special final-weekend pass for budding young cinephiles, 3 Days in Cannes. Naomi Obeng joined the raid.
Friday 25 May 2018
The shorts selections in the Competition, Cinefondation, Quinzaine and Semaine offered up miniature marvels that sometimes exhibited more craft in a matter of minutes than some visionaries were able to realise in a much meatier runtime, report Catherine Bray and Jake Cunningham.
Catherine Bray, Jake Cunningham
Thursday 24 May 2018
Banned by the Ceaușescu regime from stage work but never deflected from his critiques of his country, Romania’s great film and theatre director was, in his implacable and subversive scepticism, a role model for the country’s cinematic new wave, writes Nick Roddick.
Wednesday 23 May 2018
From Il Posto to The Tree of Wooden Clogs and The Legend of the Holy Drinker, Ermanno Olmi drew upon his family, history and religion to tell stories of everyday Italian life, writes Pasquale Iannone.
Monday 21 May 2018
To the #TimesUp moment and the world after Weinstein, Cannes offered an anti-harrasment hotline – but mostly just ceded its platform to women themselves to make the change, says Rebecca Harrison.
Friday 18 May 2018
Toronto’s international documentary film festival showcased a series of films that reckon with our moment of sexual-relations redress – offering a vision of creative nonfiction as a space to transcend victimhood, writes Simran Hans.
Thursday 17 May 2018
The festival is quieter in the wake of Weinstein, but the Competition films have come out punching – not least Spike Lee’s potent race satire BlacKkKlansman, reports Nick James.
Wednesday 16 May 2018
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