Cannes Report
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Mia Hansen-Løve’s ‘One Fine Morning’ Acquired by Sony Pictures Classics
Cannes 2022: Léa Seydoux stars in the film that premiered in the Director’s Fortnight section
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‘Corsage’ With Vicky Krieps Acquired by IFC Films Out of Cannes
Marie Kreutzer’s costume drama premiered in the Un Certain Regard section at the festival
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‘Holy Spider’ Film Review: Disturbing Serial-Killer Drama Goes to Extremes to Show Violence Against Women
Cannes 2022: ”Border“ director Ali Abbasi reimagines the 2001 case of an Iranian religious fanatic who slaughtered 16 young women
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‘Forever Young’ Film Review: Valeria Bruni Tedeschi’s Semi-Autobiographical Tale Is Painfully Familiar
Cannes 2022: Story follows a group of idealistic students attending acting school in the 1980s
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Female Filmmakers in Cannes Speak of Freedom and Its Price
”Women have always been and still are forced to please in order to be loved,“ ”Corsage“ filmmaker Marie Kreutzer says
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‘Jerry Lee Lewis: Trouble in Mind’ Film Review: Ethan Coen Shakes the House With Rock Doc
Cannes 2022: The solo Coen brother takes a playful look at a protean rock ‘n’ roller in a film based around great live performances
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Cannes So Far: Income Inequality, Ticket Troubles and the Ghost of COVID
Cannes 2022: At a scattershot festival, some of the biggest films have taken sharp looks at the way society enshrines inequality
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Apple Lands Jessie Buckley and Riz Ahmed Sci-Fi Romance ‘Fingernails’ From Christos Nikou
The film is the English-language debut from the Greek director of ”Apples“
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Cannes Report Day 6: ‘Holy Spider’ Red Carpet Begins With Smoke Bomb Demonstration Against Domestic Violence
Plus, a ”Holy Spider“ actress will lead a film executive produced by Cate Blanchett
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‘R.M.N.’ Film Review: Cristian Mungiu Explores Romania’s Fractured History Through One Conflicted Town
Cannes 2022: The director of ”4 Months, 3 Weeks and 2 Days“ lights a slow fuse but the payoff brings the fireworks
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‘Triangle of Sadness’ Film Review: Gross-Out Comedy Is Overlong and Understuffed
Cannes 2022: ”The Square“ filmmaker Ruben Östlund returns with a social commentary that relishes in toilet humor
