Category: Reviews


Cannes 2019: The Lighthouse, Lux Aeterna

by Ben Kenigsberg May 19, 2019   |   “The Lighthouse” is the first movie I’ve seen at Cannes this year that actually looks like a classic—”looks” in the most literal sense. Not only has the director, Robert Eggers, in his first feature since his 2015 Sundance breakout “The Witch,” shot the picture on black-and-white film stock,…

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Cannes 2019: A Hidden Life, The Whistlers

by Barbara Scharres May 19, 2019   |   One of the Cannes competition films most anticipated this year is Terrence Malick’s “A Hidden Life,” a screen biography of Austrian WWII conscientious objector Franz Jagerstatter. Malick won Best Director at Cannes in 1979 for the cult favorite “Days of Heaven.” After a sporadic output that included “The…

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Thumbnails Special Edition: Cannes 2019

by Matt Fagerholm May 17, 2019   |   Thumbnails is a roundup of brief excerpts to introduce you to articles from other websites that we found interesting and exciting. We provide links to the original sources for you to read in their entirety. This special edition of Thumbnails spotlights coverage of the 2019 Cannes Film Festival.…

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Cannes 2019: Rocketman

by Ben Kenigsberg May 17, 2019   |   Cannes always struggles to strike the right balance between serving as a showcase for rarefied excellence in world cinema and affording glitzy photo ops to the planet’s biggest celebrities—which means that sometimes starry movies that shouldn’t be uttered in the same breath as the phrase “Palme d’Or” can…

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Cannes 2019: Sorry We Missed You

by Barbara Scharres May 17, 2019   |   No one speaks to the heart of the working world, and to every exploited category and class of humanity quite like Ken Loach, a British social realist whose passion for exposing injustices past and present has burned in films  like his two Cannes Palme d’Or winners: “I, Daniel Blake”…

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Joanna Hogg on The Souvenir, Painting the Structure of a Film in Watercolors and More

by Carlos Aguilar May 17, 2019   |   A visual artist who writes in images more literally than most, British auteur Joanna Hogg has decisively disowned some of the creative chains pertinent to fiction storytelling. Her severance with traditionally formatted screenplays and strictly rehearsed acting came as the result of over a decade in scripted television,…

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