Ioncinema

Thief of Hearts: Lellouche’s Sprawling Romance Has Arrhythmia A common occurrence for actors moonlighting as directors is not knowing how to hone a focus, crafting a narrative around the performers, often to the detriment of the film itself. Such is...

One of the favorited Brazilian filmmakers of the Cannes film festival with Madame Satã (2002), O Céu de Suely (2006), and winner A Vida Invisível de Eurídice Gusmão having all premiered at the fest’s Un Certain Regard section. Adding Special...

Destiny Indemnity: Ainouz Retrofits a Noir Classic “Love, when you get fear in it, it’s not love any more, it’s hate,” wrote James M. Cain in his indelible, eternal noir 1934 novel The Postman Always Rings Twice. Director Karim Aïnouz...

I still recall when Miguel Gomes took over the Directors’ Fortnight section with not one, but three films for the The Arabian Nights trilogy (Volume 1: The Restless One, Volume 2: The Desolate One and Volume 3: The Enchanted One) in...

Runaway Groom: Gomes Charts a Barren Odyssey In what serves as an extremely taxing personification of cold feet, Miguel Gomes feels as if he’s going through stylistic motions with his latest feature, Grand Tour. A surprise project considering his long...

The Boring & Beautiful: Sorrentino’s Tone Deaf Portrait of a Lady It’s unfortunate no one’s as likely to be infatuated with the eponymous Parthenope (pronounced like ‘Penelope’) as Paolo Sorrentino, utilizing the myth of the failed siren as subtext for...

If he has the option between the Croisette or the Lido, Paolo Sorrentino is going to… France. His Cannes journey began with 2004’s The Consequences of Love, followed by 2006’s Friend of the Family, his masterwork Il Divo, his misstep...

Having sprinkled his films in the competition section twice before with Les chansons d’amour (2007) and Sorry Angel (2018), Christophe Honoré has also populated the fest with Un Certain Regard, Out of Comp and Directors’ Fortnight offerings. With Marcello Mio,...

Returning to the official competition for a second time, this is American indie filmmaker Sean Baker‘s third consecutive trip to Cannes after The Florida Project premiering in the Directors’ Fortnight in 2017 and Red Rocket (read our ★★★★ review) premiering...

Toro Toro Toro: Amamra Grabs the Bull By the Horns in Transformative Role For those who champion the bull in Spain’s electrifying yet antiquated tradition of the running of the bulls, there’s a fresh perspective awaiting in a genre-blending narrative...