The New York Times – Film:
The film festival’s top prize went to a brutal sendup of class politics directed by Ruben Ostlund, who also won in 2017 for his satire “The Square.”
Author: Manohla Dargis
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In Cannes, Filmmakers Contend With Despair and Beauty, Too
The New York Times – Film:
Titles like “Aftersun,” “Tori and Lokita” and “EO” offer dark visions that challenge and move viewers.
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Cannes 2022: ‘Elvis’ Is Remixed by Baz Luhrmann
The New York Times – Music:
The super-splashy biopic presents the story of the King as told by a (fake) colonel, a narratively curious choice.
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George Miller on “Furiosa” and his new Cannes film
The New York Times – Film:
In between screenings and interviews, the 77-year-old director is working on the next film in the “Mad Max” universe, and he seems to be having a ball.
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Cannes Film Festival 2022: Politics Mixed With Moments of Grace
The New York Times – Film:
“Top Gun: Maverick,” “Tchaikovsky’s Wife” and other movies each get polemical in their own way. But there are scenes of lyrical beauty, as in “Scarlet.”
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‘Pleasure’ Review: She’s a Go-Getter
The New York Times – Film:
Bella Cherry (psst, it’s not her real name) has come to Los Angeles looking for success. What happens next is a surprisingly complex take on the porn industry.
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‘Montana Story’ Review: A Domestic Drama in Big Sky Country
The New York Times – Film:
Scott McGehee and David Siegel’s new film follows two adult siblings as they grapple with their terminally ill father.
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‘Happening’ Review: An Abortion Story, an Existential Drama
The New York Times – Film:
In this powerful French movie set in the early 1960s, a young woman struggles to obtain an abortion when the procedure was criminalized.
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‘Anaïs in Love’ Review: Portrait of a Woman on the Run
The New York Times – Film:
A restless woman discovers herself in a seductive French romance that throws out the usual dusty script about women, desire and pleasure.