Ioncinema

No Man’s Land: Women Wage Resistance in Ishaq’s Wartime Debut Yemenis director Sara Ishaq approaches an examination of life during wartime in her native country for the first time as a narrative feature in The Station. An opening statement declares...

Among the least known filmmakers in the comp, the cinema of Jeanne Herry usually focuses on themes of care, custody and institutional responsibility, emotional repair and human connection, and looking at the construction of truth. Garance aka One Another Day...

Four films in and his second trip to the Cannes competition section, Hungarian filmmaker László Nemes began his career by winning the Grand Prix for Son of Saul (2015). He landed in Venice with films two and three with 2018’s...

The last minute addition to the competition line-up (we imagine it was the pending Neon deal) James Gray is no stranger to the competition section in Cannes making his six trip there today. The Yards (2000), We Own the Night...

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...