Ioncinema

In Dreams: Gan Explores a Century of the Cinematic Syndrome We are such stuff as dreams (and celluloid) are made on, according to the sumptuous third film Resurrection from Bi Gan. The title is itself something of a misnomer, concerned...

All the Regime Allows: Roustaee Finds a Woman Scorned If there were ever an equivalent to the Hollywood ‘woman’s film’ genre in Iranian cinema it might be Woman and Child, the latest film from Saeed Roustaee, which puts its main...

All About My Martyr: Kirchnerová’s Debut Finds the Journey is the Destination For her directorial debut, “Caravan,” Czech director Zuzana Kirchnerová weaves autobiographical elements into a road trip narrative contending with transitional phases of life, and, moreover, motherhood. Buoyed by...

Break My Soul: Lapid Explores Compromised Artistry During Wartime Essentially, YES, the latest film from Israeli auteur Nadav Lapid, is a portrait of an artist as a compromised man. Its innocuous title is essentially a rebuke of a contemporary reality...

Life as a House: Trier Turns Broken Hearts Into Art In Woody Allen’s Interiors (1978), an unhappy tale of three sisters contending with their parents’ divorce, Mary Beth Hurt confronts anguished Geraldine Paige, a mother all-consumed with her abandonment. “I...

Everyone took notice with his 2006 debut Reprise, but it is his Cannes’ Un Certain Regard 2011 sophomore feature Oslo, August 31st where this Norwegian filmmaker made his international mark. With competition stints in Cannes with 2015’s Louder Than Bombs...

South African filmmaker Oliver Hermanus might be another newbie in competition but this first trip to Cannes as he premiered 2011’s Beauty in the Un Certain Regard section. He directed 2019’s Moffie (read review) but is best known for his last...

In competition film #16 of the twenty-two offerings, and the first of a three day competition buffet, and the second com title from Spain, Carla Simón‘s fourth feature film is tipped as a neorealist flamenco musical in the neighbourhood of...

One Sings, the Other Doesn’t: Hermanus Plays a Tune for the Broken Hearted “Happiness doesn’t tell stories,” is a sage observation uttered in The History of Sound, South African director Oliver Hermanus’ melancholic portrait of two young men in love...

Blood Relatives: Simon Treads Familiar Water with Continued Autofiction After winning the Golden Bear at the Berlin Film Festival for her 2022 sophomore film Alcarras, Carla Simón returns to the autobiographical roots inspiring Summer 1993 (2017), her debut feature. The...