Ioncinema

The slot belonging to the second film of the competition belonged to Magnus von Horn‘s The Girl with the Needle (aka Pigen med nålen) – a Danish-Polish-Swedish co-production in glorious b&w photography. Three feature films in and three Cannes Film...

We kicked off the competition of twenty-two films with a debut feature, which is worth noting given the rarity of newbies in the competition section. It marks two consecutive years for a first feature from a female filmmaker, following Ramata-Toulaye...

Other People’s Money: Rosselli Finds Being Criminal is Relative In keeping with a growing tradition of contemporary Argentinian cinema’s unorthodox narrative structures, editor Hernán Rosselli adds to this offbeat wave with his sophomore narrative feature, Something Old, Something New, Something...

Casa de los Babys: von Horn Hits a Bleak Streak You know you’re in for something dark and dreary when a film opens upon a character in a world where despair has coagulated into grim apathy. Such is the case...

Grieving Rights: Runarsson Explores Interrupted Mourning For his fourth narrative feature, Iceland’s Rúnar Rúnarsson returns to themes of emotional disruption with When the Light Breaks. The film’s Icelandic title, Ljósbrot, roughly translates to ‘refraction of light,’ which is arguably a...

Woman Thou Art Loosed: Miller Wades into the Wasteland In all likelihood, George Miller presumably will be closing out his filmography the same way it began, fleshing out the iconic dystopian desert world he created back in 1979 with Mad...

Except for the pandemic year, we’ve hosted our bi-daily (sometimes tri-daily) Palme d’Or competition Cannes Critics’ Panel since 2011. Over the years, our panel has gained some steadfast members (a few have been with us since the inaugural edition), while...

Teenage Wasteland: Riedinger’s Debut a Familiar Coming-of-Age Parade All that glitters isn’t gold, but social media success can break the mould. At least that’s the hopeful nugget bestowed upon the wayward heroine of Agathe Riedinger’s debut, Wild Diamond (Diamant Brut)....

The Face of An(other): Luis Complicates Identity Politics Although it’s playing quite purposefully with various ambiguities and motifs, Federico Luis’ directorial debut Simon de la montaña (Simon of the Mountain) is most successful at obscuring the usual cliches of identity...

The Art of Saying Nothing: Dupieux Deconstructs Cinema Had Luis Bunuel approached conveying the reality of cinema produced by artificial intelligence, there may have been some similarities with what Quentin Dupieux is doing in his latest feature, Le Deuxième Acte...