Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com. Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives was awarded the Palme d'Or this year at Cannes—where I wrote about the
"I was not angry since I came to France / Until this instant." 'Tis bard quote is inevitably uttered by the Ferroni Brigade, while suffering the Cannes juggernaut, usually sooner than later—
The jury spoke in Cannes, and now it's your turn. We've extended the deadline for short film submissions in the Cannes à la Flip contest until Sunday, June 6, 2010 so that the MUBI and Flip video communities
There are more reviews and interviews still to come, but the coverage-of-the-coverage phase wraps up right here with a last round on films that screened at this year's Cannes Film Festival but
Dennis Lim introduces an interview for the New York Times: "Of the 30-plus documentaries Frederick Wiseman has made in his fortysomething-year career, most are portraits of institutions, peeling
"When the trailer for the film first appeared and caused something of a cult buzz in the online community," begins Todd Brown at Twitch, "the attention was split evenly between the fact that the
Peter Bradshaw in the Guardian on Over Your Cities Grass Will Grow: "With infinite patience and care, and a sense of how the movie camera can both record and also participate in the process of making
Man is split into three in Ha Ha Ha: the true, the false, and the film's hero, placed in the middle. To complicate matters, we are in the realm of South Korean auteur Hong Sang-soo, so these three are
01Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, Thailand)Film Socialisme (Jean Luc Godard, Switzerland) 02The Strange Case of Angelica (Manoel de Oliveira, Portugal)Hands Up
"As the title suggests, The Autobiography of Nicolae Ceausescu is hardly a conventional historical documentary," writes Dennis Lim, introducing another interview for the New York Times. "Andrei
"The debut feature from the British filmmaker Alicia Duffy, which premiered in the Directors' Fortnight, is a disquieting tale of obsession and violence in the French countryside," writes the Guardian
Takeshi Kitano’s Outrage, which continues to be pitched and described as his “comeback” film, reveals why the filmmaker hadn’t previously returned to the genre that made his name—its conventions, the