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Family of Straw: Hayakawa Paints Busy Coming-of-Age Portrait Going in the opposite direction of her 2022 debut Plan 75, a sci-fi meditation on Japan’s aging population, director Chie Hayakawa sets her sights on one defining summer for an eleven-year-old girl...

This is Cannes Film Festival’s third invite (second time competition) to veteran American indie filmmaker Richard Linklater. Oddly his first visit was almost two decades back and he came packing a pair of films – Fast Food Nation and A...

Images of Yellow Wallpaper: Ramsay Charts a Psychotic Break For her first narrative feature in eight years, Lynne Ramsay returns with Die My Love, based on the 2019 novel by Ariana Harwicz. In essence, it’s a troubling, captivating character study...

Gradually making her presence known on the Croisette first with her Cinéfondation selected Niagara (2013) short, and eventually with 2022’s Plan 75 – an Un Certain Regard selection that would end up landing a Camera d’Or Special Mention (read ★★½...

Evidence of Love: Douard’s Debut Reads Between the Lines of Maternal Affections While it plays like something of a specific time capsule, Alice Douard’s Love Letters is really about a compounded state of transition, conflating fluctuating cultural realities with one woman’s...

White Impact: Pinho Explores the Ponderous Progress Through Post-Colonial Perceptions “We never seem to be where we are,” remarks one of the characters in Pedro Pinho’s simmering sophomore feature I Only Rest in the Storm (O riso e a faca),...