Tilda Swinton Gives Takes On AI and Cannes Red Carpet
Tilda Swinton warned that cinema needs to avoid “formulaic” work and privilege “messy, adventurous experiences” to survive in…
‘Victorian Psycho’: Maika Monroe Is A Crazed Governess In First Teaser
Here’s your first teaser trailer for Maika Monroe horror Victorian Psycho, which debuts today in Cannes‘ UCR section.…
Ron Howard Returns To Cannes With Richard Avedon Documentary
Oscar-winning filmmaker Ron Howard has been to the Cannes Film Festival numerous times going back almost 40 years:…
Viva Carmen Review: Sébastien Laudenbach Spins Bizet’s Tragic Opera
Feature-length animation has largely become a merciless and exacting thing, every frame invested with such a fortune’s worth…
Ira Sachs’ ‘The Man I Love’ Gets 10-Minute Ovation In Cannes
Ira Sachs‘ drama The Man I Love starring Rami Malek had its world premiere Wednesday at the Cannes…
‘Red Rocks’ Review: Bruno Dumont’s French Riviera Arthouse Kids Flick
You can call French auteur Bruno Dumont many things: profound, pretentious, visionary, a master of rural poverty porn,…
Miles Teller Has Been Press Shy Since Esquire 2015 Cover Story
Miles Teller has been in Cannes promoting his star turn in James Gray’s competition title Paper Tiger, but the…
A Man of His Time Review: Cannes Docudrama Explores Fascism
Hannah Arendt’s old adage about evil has grown banal from overuse, though it finds interesting new ripples in…
‘Death Has No Master’ Review: Asia Argento in Slow-Burn Thriller
It’s highly reductive to say, but there’s a genre in festival and arthouse cinema, and it’s simply called…
I See Buildings Fall Like Lightning Review: A Compelling Adaptation
Some films herald the scope of their ambitions from the opening frame, whereas others start humbly with a…
Milo Machado-Garner interview on ‘Goodbye Cruel World’
At the age of 17, Milo Machado-Graner is already familiar to audiences in Cannes. First, he appeared as…
‘Ben’Imana’ Review: Rwandan Women Confront History in a Searing Drama
“I forgive” are the first words uttered by Vénéranda in Ben’Imana, but her ferocious gaze and the clamp…