
In one of the first major films to confront the contemporary refugee crisis in Europe, Jacques Audiard brings a genre-busting approach to an explosive subject.
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Seventy Years of Cannes: 1953’s The Wages of Fear To toast the seventieth anniversary of the Cannes Film Festival, which has been in full swing since last Wednesday, I’m spending this week looking back on a top-prize winner from each decade of the festival’s history, dishin… Read More
Ozu and the Delicate Art of the Fart Gag A portrait of childhood, domestic life, and consumerism in postwar suburban Tokyo, Yasujiro Ozu’s Good Morning is one of the Japanese master’s most charming and subtly incisive comedies. Made in 1959, this loose update of th… Read More
[The Daily] Cannes 2017: Noah Baumbach’s The Meyerowitz Stories (New And Selected) “The Meyerowitz Stories (New and Selected) isn’t the wittiest or most exciting movie that Noah Baumbach has ever made, but it might just be the most humane,” writes David Ehrlich at IndieWire. “While all of his films have a … Read More
[The Daily] Cannes 2017: John Cameron Mitchell’s How to Talk to Girls at Parties “At the risk of accidentally donating three words to the poster, How to Talk to Girls at Parties looks like it was phenomenally good fun to make,” grants the Telegraph’s Tim Robey. “An alien-sex-comedy-punk-musical-doodle se… Read More
[The Daily] Cannes 2017: Philippe Garrel’s Lover for a Day “Philippe Garrel has always only needed the barest means to make movie magic,” begins Daniel Kasman in the Notebook: “a beautiful, tragic face, a sad wall to put behind it, a mournful, pensive walk alone on the street. He is… Read More
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