Coppola’s announcement comes in the wake of a massive movement to re-empower a more traditional brand of femininity.
Both thoughtful and undeniably entertaining, “The Woman King” breathes new life into the studio action film.
The film is not as bad as the political pop culture aficionado wants to hear, but not without its major flaws.
Beyond its stunning aerial sequences, punchy dialogue, and balanced sentimentality, the most interesting aspect of the film is its implicit meditations on change.
With Amir-Ebrahimi bold and arresting performance at the foreground, Abassi’s film is an unflinchingly grim depiction of the toll of patriarchal violence.
Denis’s latest effort is commendable for its exciting pace and distinctively sultry mood, but the romance at the core of the film is not strong enough to fully draw audiences into the muddled world of its underwritten protagonists.
From Cannes: 'Three Thousand Years of Longing' Is 108 Minutes of Rollicking Entertainment Without A Clear Point
“Three Thousand Years” is one of the most highly-watchable films of the festival, sure to be a crowd-pleaser in theaters. But its palatability comes at a cost.
The film becomes alienatingly hard to watch as it devolves into a bizarre musical about an unlikeable man terrorizing women on the street.
Writer-directors Lise Akoka and Romane Gueret craft a self-aware film that features sensitive performances, a touching emotional arc, and compelling commentary on the social responsibilities of filmmakers.
Though oftentimes over-the-top and surface level in its critique, “Syk Pike” is nevertheless a witty examination of narcissism, unabashedly holding up a mirror to humanity’s worst tendencies.
Does the blood spilled behind two people bind them together or doom them to unhappiness? Can two people conditioned by violent obsessions ever turn away from them, or have they been indelibly shaped?
On the cinematic screen, where audiences can experience only the visual echoes of pain, Cronenberg orchestrates grotesque injuries and shocking transformations in the service of art.
Arnaud Desplechin’s latest film begins by thrusting viewers right in the middle of a hostile, tragic confrontation and maintains approximately the same level of melodrama for the entirety of its runtime.
The affecting drama is a triumph of communal filmmaking that highlights the perspectives of Native creatives, offering a fluid coming-of-age story that resists the narrative urge to insert artificial endings.