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Festivals: Cannes

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Cannes 2017 Dispatch: NEXT VR Round Up

To call the Cannes Film Festival one of the most elitist film festivals on the calendar is not an unfair assessment. This is doubly true when it came to this year's first ever VR entry into the official program. It...

AnarchyVision: Cannes 2017 Press Conference Interviews

Out of any major film festival, the Cannes press conference is the one to go to. In a place where glamour rules and access to some of the stars requires running quite a gauntlet, it's in the press conference that...

Cannes 2017 Dispatch: A Tour of the Marché

It's been a long while since we last explored the wacky posters on display at Cannes. Amazingly enough, some of those same 2012 posters are still hanging around. But the annual wander through the labyrinthine halls of the Marché du...

Cannes 2017 Dispatch: Official Awards Exclaim Expectations Met

The buzz throughout the week at this year's Cannes Film Festival seemed mostly dominated by a sense of waiting for one film from the Palme d'Or competition that would really break out. In the end, that one clear favorite never...

AnarchyVision: Cannes 2017, THE SQUARE, 120 BPM, THE FLORIDA PROJECT and More

Here's another look at the 2017 Cannes Film Festival as it started to wind down, including another shot at The Square (above), which won the Palme d'or; Lynne Ramsay's return with You Were Never Really Here; the amazing The Florida Project;...

Cannes 2017 Review: THE MEYEROWITZ STORIES (NEW AND SELECTED), Rich on Dysfunctional Delight

While Cannes has not exactly been light on controversy this year, one film in its lineup was easily singled out as a suspicious inclusion when the official selection was first announced. After all, not only does The Meyerowitz Stories (New...

BUSHWICK: Check Out Three Teaser Posters For The Urban Invasion Thriller

Bushwick, an urban invasion thriller directed by Cooties' Cary Murnion and Jonathan Milott, played tonight at Cannes in the Directors' Fortnight Features program. Yesterday, Collider debuted three new teaser posters, running with the colors of American patriotism. You will find...

Cannes 2017 Review: THE MERCILESS Punches Up Familiar Gangster Tale

After helming a low-key music drama (The Beat Goes On) and a romantic comedy (Whatcha Wearin'?), director Byun Sung-hyun finally shows off what may be his true colors in the brash and confident half gangster thriller, half prison drama The...

Cannes 2017 Review: THE BEGUILED, A Campy Anatomy of Lust

Sofia Coppola is a filmmaker whose work I've appreciated from a distance. I know she's a great director, but apart from Marie Antoinette, her stories of rich white people and their troubles has held little interest for me. But as...

Cannes 2017 Dispatch: A Strong Year for the Sidebars

The main attraction at what might be the world's most bifurcated film festival is certainly the Palme d'Or competition. But there is always a film or two that finds a fair amount of buzz out of one of the primary...

Cannes 2017 Review: THE KILLING OF A SACRED DEER, Love Can Make Us Cruel

Human beings can be kind, generous, and loving. But they can also be self-indulgent, vicious, and cruel. We all want to believe that, under certain circumstances, we would sacrifice and fight for the lives of our loved ones. But would...

AnarchyVision: ALIEN: COVENANT, Cannes 2017, OKJA, LOVELESS, THE SQUARE

A look at the latest in the Alien franchise, as well as Cannes gems Loveless, The Square, and how Okja's Neflix nature has unsettled local purists....

Cannes 2017 Review: THE DAY AFTER Offers Bitter Portrait of Infidelity

Returning to black and white for the first time since The Day He Arrives (which screened in Un Certain Regard in 2011), Hong Sangsoo returns to the Cannes competition section with The Day After, a focused rumination on love and...

Cannes 2017 Review: FACES PLACES, A Delightful and Poignant Capture of Working Life

The Grand Dame of French cinema, Agnès Varda's work has ranged from the New Wave in Cleo from 5 to 7, to feminism and friendship in One Sings, The Other Doesn't, to documenting the life of the poor in The...

Cannes 2017 Review: THE VILLAINESS Shoots and Chops Her Way to Bloody Revenge

Korean action cinema bursts through to new horizons in the hyperkinetic pulp blade and bullet ballet The Villainess. Equal parts Kill Bill, Nikita, John Wick, Hardcore Henry and HK-era John Woo, the second film from Confession of Murder director Jung...

Cannes 2017 Review: CLAIRE'S CAMERA, Hong Sangsoo's Low-Key Cannes Holiday

Love him or hate him, Hong Sangsoo has been remarkably consistent with his films, which both offer viewers a familiar framework and new variations on his favorite themes. His 20th work Claire's Camera debuts this weekend as a Special Screening...

Cannes 2017 Review: THE RIDER, Elegaic and Intimate Portrait of Suffering and Cure

Chloé Zhao's first feature film, Songs My Brothers Taught Me, showed the beautiful and difficult life of a young man on the Pine Ridge Indian Reservation in South Dakota; his relationship with his family, his clashes with white men, and...

Cannes 2017 Dispatch: Competition Embraces the Weird

For a festival notorious for taking itself way too seriously, the opening salvo of the Palme d'Or competition has been filled with movies that are actually pretty weird. Of course, that's incredibly refreshing. Not to say that it isn't nice...

Cannes 2017 Review: OKJA Will Make You Jump for Joy and Burst into Tears

An endearing family adventure, a bitter ecological plea and a rousing action film all rolled into one, Okja proves once more that Bong Joon Ho is a master of twisting something new out of the familiar. While Netflix's gamble screams...

Hosoda Mamoru Announces His Next Film MIRAI

With Cannes in its full tumultuous swing this news nearly passed us by, but site favorite Hosoda Mamoru actually announced his next animated film at the festival, a few days ago. His earlier efforts The Girl Who Leapt Through Time,...