Super Cannes: Broken Reality of the Moonrise Kingdom
Celluloid Liberation FrontPost-Cannes thoughts on Wes Anderson, Rufus Norris’ opening night film for Critics’ Week, and Matteo Garrone’s prize-winner, Reality.
Post-Cannes thoughts on Wes Anderson, Rufus Norris’ opening night film for Critics’ Week, and Matteo Garrone’s prize-winner, Reality.
The second of an aborted Festival de Cannes project of handing out sheets of paper to attendees and asking for immediate reactions to films.
The first of an aborted Festival de Cannes project of handing out sheets of paper to attendees and asking for immediate reactions to films.
A rough ordering of my most (and least) favorite films in Cannes 2012.
The Palme d’Or goes to Michael Haneke’s Amour. Also, a comprehensive list of all the award winners.
Kôji Wakamatsu continues his look at Japanese history with a micro-biopic on the passion of Yukio Mishima.
In adapting Don DeLillo’s novel, Cronenberg continues A Dangerous Method’s talky abstraction, here seeing the end of the world as theory.
The festival arrives at a close, with films in competition from David Cronenberg, Sergei Loznitsa, Im Sang-soo, and Jeff Nichols.
Three standous: a school musical brawl film by Miike, an episodic, shapeshifting nightcrawl by Carax, and fragments of grief from Rosales.
Léos Carax’s long-awaited return to Cannes is a loud one, and Carlos Reygadas’ Post Tenabras Lux sounds like a divisive highlight.
Alain Resnais returns to the play between theater, cinema and life in his new film.
Michael Haneke’s intimate drama of domestic death.