Cannes Report
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‘Decision to Leave’ Film Review: Park Chan-Wook Mixes Crime Story With Love Story
The Korean director’s first movie since ”The Handmaiden“ is gorgeous, richly dramatic and increasingly complex
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‘Onoda’ Review: French Director Makes Japanese Biopic With American Influences
Arthur Harari’s near three-hour drama borrows from John Ford to tell the story of a WWII Japanese soldier who didn’t give up for 29 years
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‘Triangle of Sadness’ Review: Gross-Out Comedy Is Overlong and Understuffed
”The Square“ filmmaker Ruben Östlund returns with a social commentary that relishes in toilet humor
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‘Casablanca Beats’ Film Review: World Cinema Hip-Hop Musical Is a Blitz of Movement and Music
Nabil Ayouch’s film argues that the power of personal expression can turn the world on its head
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‘Moonage Daydream’ Film Review: Immersive David Bowie Documentary Is a Bold, Seething Mass of Bowie-ness
Brett Morgen’s doc delves into the Bowie archives to embrace the artist’s concept of an art that works with ”fragments and chaos“
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‘The Story of Film’ Review: Documentary Is a Cinematic Celebration, Not a History Lesson
Mark Cousins’ doc about movies in the 21st century spends more than two-and-a-half hours drawing odd and compelling connections
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‘Three Thousand Years of Longing’ Film Review: George Miller’s Fantasia Explodes All Your Blockbuster Expectations
Tilda Swinton and Idris Elba star in a visually imaginative exploration of storytelling
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Cannes Film ‘The Eight Mountains’ Lands North American Deal with Sideshow and Janus
The drama from directors Felix van Groeningen and Charlotte Vandermeersch won the Grand Jury Prize at this year’s festival
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‘Elvis’ Film Review: Baz Luhrmann Gleefully Distorts Legend’s Life in Extravagant Biopic
The Australian director’s film is part spirited homage to a titanic force in American music
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Cannes Film Festival 2022 Portrait Gallery (Exclusive Photos)
Woody Harrelson, Riley Keough, Lee Jung-jae and more pose for TheWrap
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‘Crimes of the Future’ Film Review: David Cronenberg Plays the Hits, But Always With Style
Whether this is the Canadian auteur’s final film, he offers closing arguments on his thematic and visual obsessions
