Ioncinema

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...

Of Human Bondage: Hamaguchi Highlights Humanity in Quiet Drama In the midst of what ends up being a transformative month for the principal players in Ryusuke Hamaguchi’s latest film All of a Sudden, there’s an experimental play serving as a...

The second Japanese filmmaker to premiere in the competition this year, Ryusuke Hamaguchi doesn’t have an extensive Cannes history with only Asako I & II competed in 2018 and 2021’s Best International Feature Film Oscar winner Drive My Car (Best...

The Double Life of the Voyeurist: Farhadi Fails with Out of Touch Drama Initially, it would seem Asghar Farhadi’s decision to present a contemporary world littered with anachronistic tendencies in Parallel Tales served some greater narrative purpose. Unfortunately, the end...

Every Mann for Themselves: Pawlikowski Remains Chilly with Cold War Permafrost Two iconoclastic German writers are locked in a spiritual duel for relevance at the onset of a tenuous new world order in Pawel Pawlikowski’s Fatherland, arguably more frosty than...

After gaining international recognition with Berlinale entries in Silver Bear for Best Director About Elly (2009) and Golden Bear winning (plus Oscar winning) A Separation in 2011, Asghar Farhadi made the move to Cannes with 2013’s The Past (Bérénice Bejo...

Post My Summer of Love (2004) and The Woman in the Fifth (2011), it’s with his fourth feature where Paweł Pawlikowski become someone to factor as a Croisette conversation whatever future output after showcasing Ida – it garnered 70 international...