Ioncinema

In the Forests of the Night: Gray Frames Fearful Symmetry Had James Gray been prolific during the glory days of New Hollywood from the late 1960s through the 1970s, he would have been cemented as an iconoclast among the likes...

In a cinema that has worked with themes of escalating moral and psychological pressures, corruption of institutions and personal ethics, with a dash of emotional obsession and destructive intimacy, Rodrigo Sorogoyen makes his first trip to the competition section with...

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...

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...

I’m a Cyborg, But That’s OK: Koreeda Explores Cruise Control with AI Somehow, despite being set in the ‘not too distant future,’ Hirokzau Kore-eda’s twee take on robotic children in Sheep in the Box manages to seem like an anachronistic...

Only Mothers Left Alive: Maurel Funnels Dysfunctional Family Matters You can’t go home again and it’s a disaster to even try, especially as evidenced in Valentina Maurel’s Forever Your Maternal Animal, a dark comedy of sorts about a willfully oblivious...

Paradise by the Dashboard Lights: Le Gall Finds Love in a Hopeless Place A self-described ‘wayward photographer’ influenced by Henri Cartier-Bresson, French writer/director Pierre Le Gall unleashes a vulnerable, semi-autobiographical take on experiencing an all-consuming love jones with Flesh and...

Happy-Go-Mucky: Pinell Finds Purpose with a Woman in Transition “No one ever wanted her forever,” is a partial description of the titular character in Gail Parent’s 1972 novel Sheila Levine is Dead and Living in New York, widely regarded as...

From Austria, Marie Kreutzer breaks into the Palme d’Or competition for a very first time after having competed in the Un Certain Regard section (and winning) for 2022’s Corsage. Her previous works include The Fatherless (2011’s Berlinale), Gruber Is Leaving...

The Children’s Hour: Kreutzer Poses Provocative Dilemmas The complex trappings of denial are at the heart of Gentle Monster, the latest from Austrian director Marie Kreutzer, a narrative juxtaposing scenarios wherein two women are forced to confront potential complicity in...