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
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.
Thursday 24 May 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
Jia Zhangke explores the masculine codes of his previous work in this ravishing, self-referential film about a woman in love with a mobster, with an astonishing lead performance from Zhao Tao, writes Giovanni Marchini Camia.
Turkish master Nuri Bilge Ceylan’s latest follows a would-be writer’s reluctant return to his small-town fold, spinning an extensive series of conversational encounters into a typically rich, wry, melancholic mood-piece, says Geoff Andrew.
Salvation is barely a twinkle in the eye of pre-teen scrabbler Zain, driven to sue his parents for bringing him in to a life of destitution in Nadine Labaki’s furious, tumultuous Lebanese drama, writes Caspar Salmon.
A before-and-after-the-wipeout portrait of an alienated news cameraman who suddenly finds himself alone and thriving, Ulrich Köhler’s social critique is horrifying, hilarious and deeply humane, writes Giovanni Marchini Camia.
Spike Lee’s raucous investigative satire of American white nationalism whoops up a true fairy tale of anti-racist swamp-draining – without obscuring the bigger picture of a bigotry that endures, says Sophie Monks Kaufman.
Unconventional storytelling, adorable pets and topical references swell this affectionate yarn about a Cristiano Ronaldo-esque soccer star being co-opted into an anti-EU plot, writes Sophie Monks Kaufman.
Andrea Bescond’s impressive debut feature about a dancer who seeks out a therapist to help her come to terms with childhood abuse is an ode to the restorative powers of the arts, writes Rebecca Harrison.
Benedikt Erlingsson’s follow-up to Of Horses and Men mixes absurdist comedy and tense thriller, with Halldóra Geirharðsdóttir as an eco-justice warrior faced with the challenge of juggling protest responsibilities and foster motherhood, writes John Bleasdale.
An 18th-century monk, played with intense fervour by Quentin Dolmaire, is excited by the radicalism of the age and the sensuality of nature in Clément Schneider’s potent first feature, writes Caspar Salmon.
Panos Cosmatos’s follow-up to Beyond the Black Rainbow is a gloriously lurid mock-80s revenge quest that aims a raging, roaring Nicolas Cage at villains from another dimension, reports Katherine McLaughlin.
Luis Ortega’s film doesn’t judge the horrible crimes of its baby-faced serial killer anithero, played by Lorenzo Ferro. Instead it’s a subversively funny and cool take on the crime movie, writes Christina Newland.
Sergey Dvortsevoy’s long-awaited follow-up to Tulpan holds close to a hard-pressed Kyrgyzstani migrant ducking and diving in the Russian metropolis; it’s sincere and hard-wrought if cinematically routine, says Geoff Andrew.
Resting heavily on a powerful performance by Vincent Lindon, Stéphane Brizé’s follow-up to The Measure of a Man is another portrait of contemporary European labour relations that convinces more in the general than in the particular, says Geoff Andrew.