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The Beloved (El ser querido) | 2026 Cannes Film Festival Review
by admin|3 weeks ago|Ioncinema
What’s Love Got to Do with It?: Sorogoyen Visualizes Dysfunction & Creative Catharsis Although it’s a familiar trope, an absent father utilizing a complex ruse to reunite with a child abandoned from a previous relationship, Rodrigo Sorogoyen distills potential extremes...
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2026 Cannes Critics’ Panel: Day 4 – Hirokazu Kore-eda’s ‘Sheep in the Box’
by admin|3 weeks ago|Ioncinema
The VIP jacket wearing Hirokazu Kore-eda is one of Cannes’ most regular presences, with seven films selected over the years and one Palme d’Or under his belt. So far he has showcased 2001’s Distance, 2004’s Nobody Knows (which won Best...
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Cannes 2026 Video #4: Festival Dispatch with Zachary Lee
by admin|3 weeks ago|Roger Ebert
In this video dispatch, Scott Dummler interviews correspondent Zachary Lee about some of his highlights from the fest, from "Karma" to a restoration screening of Ken Russell's "The Devils."
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Cannes Review: All of a Sudden Is Ryusuke Hamaguchi’s Most Empathetic, Humanist Film to Date
by admin|3 weeks ago|The Film Stage
“Are healthy people truly alive?” It is early into All of a Sudden when Marie-Lou (Virginie Efira) hears the question that rings as a tagline for Ryusuke Hamaguchi’s new feature. The head of a private Parisian clinic for the elderly,...
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‘Diary of a Chambermaid’ Review: Radu Jude’s Despondent, Biting Adaptation of a Classic
by admin|3 weeks ago|Slant Magazine
Jude’s “variation on” Octave Mirbeau’s novel is an exuberant hodgepodge of genre modes. The post ‘Diary of a Chambermaid’ Review: Radu Jude’s Despondent, Biting Adaptation of a Classic appeared first on Slant Magazine.
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‘Manas’ Review: Marianna Brennand’s Somber, Oddly Impersonal Portrait of Child Abuse
by admin|3 weeks ago|Slant Magazine
There isn’t much room in Brennand’s film for contradiction or ambiguity. The post ‘Manas’ Review: Marianna Brennand’s Somber, Oddly Impersonal Portrait of Child Abuse appeared first on Slant Magazine.
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‘I Love Boosters’ Review: Boots Riley’s Exhaustingly Surreal Anti-Capitalist Satire
by admin|3 weeks ago|Slant Magazine
The film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls. The post ‘I Love Boosters’ Review: Boots Riley’s Exhaustingly Surreal Anti-Capitalist Satire appeared first on Slant Magazine.
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Cannes 2026: John Lennon: The Last Interview, La Libertad Doble
by admin|3 weeks ago|Roger Ebert
On two very different Cannes offerings, including one by Steven Soderbergh.
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Cannes 2026: Paper Tiger, Sheep in the Box
by admin|3 weeks ago|Roger Ebert
On two very different Competition titles from this year's Cannes: New works from James Gray and Hirokazu Kore-eda.
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Cannes Review: Clarissa Provides a Formally Adventurous Showcase For Sophie Okonedo
by admin|3 weeks ago|The Film Stage
It might not have the fervent awards chatter that’s followed Sandra Hüller’s current run of form, but for the London-born actress Sophie Okonedo, 2026 is already looking like a quietly spectacular comeback year. After seeing Kelly O’Sullivan and Alex Thompson’s...
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