Above: Mia Hansen-Løve, director of The Father of My Children. Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com. 24 hours after A Brighter Summer Day (wishful titling for a film in which light
The only avant-garde film in Cannes’ Competition is Gaspar Noé’s Enter the Void, which picks up the gauntlet thrown down by the Wachowskis’ Speed Racer of an endlessly malleable cinema of acid-trip colors
Michael Haneke’s The White Ribbon.
Luc Moullet juts into the frame pointing out the southern Alps on a map of France, and tacks, labels, and a rubber band are secured in order to be even more specific, carving out a parallelogram of bloodbaths
Some may remember the 2009 Cannes Film Festival for the ephemeral brouhaha of Antichrist, but time will be most understanding of all to Wild Grass, the new masterpiece by Alain Resnais. It has breathed
Raya Martin's Independencia has found the cinematic equivalent of a double negative: artifice referencing artifice cancels itself out. His minute little saga, which begins with a mother and son in
Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com.
In Vengeance: the small and the large: how to unlock a hotel door that is chained shut, and the "that must have been Wai Ka Fai's idea" shootout using giant compressed squares of trash on an empty field
As in most gangster movies, character interest and plot interest are the same in A Prophet: a man’s identity is the moves he makes. Which is why the movie holds on as an investigation into who the main
Photo by Fabrizio Maltese/EF Press/fabriziomaltese.com.
Hip-hip-hurray for Lars von Trier’s Antichrist, a ballsy B-movie riff off Bergman and Tarkovsky by way of Evil Dead that treads over the whole gamut of art-house clichés, was clearly improvised day in
Like Bresson, Melville, or Boetticher, Johnnie To makes movies about men surveying their possibilities to do a job, then doing it as neatly as possible—To’s method too, diagramming characters in a