May 22, 2025 Laura Piani and Camille Rutherford on Authoring Their Own Love Story in “Jane Austen Wrecked My Life”
May 22, 2025 Cannes 2025 Review: History is Left Up to Chance in Mateo Zoppis and Alessio Rigo de Righi’s Playful and Poignant “Heads or Tails?”
May 21, 2025 Cannes 2025 Review: Where There’s a Wheel, There’s a Way in Lloyd Lee Choi’s Splendid “Lucky Lu”
May 22, 2025 Laura Piani and Camille Rutherford on Authoring Their Own Love Story in “Jane Austen Wrecked My Life”
May 22, 2025 Cannes 2025 Review: History is Left Up to Chance in Mateo Zoppis and Alessio Rigo de Righi’s Playful and Poignant “Heads or Tails?”
May 21, 2025 Cannes 2025 Review: Where There’s a Wheel, There’s a Way in Lloyd Lee Choi’s Splendid “Lucky Lu”
May 15, 2024 Cannes 2024 Review: A Hunt for a War Criminal Becomes a Search for Peace of Mind in Jonathan Millet’s Haunting “Ghost Trail”
June 4, 2023 Cannes 2023 Review: A Society’s Pain is Resurfaced in Amat Escalante’s “Lost in the Night”
May 31, 2023 Cannes 2023 Review: “Firebrand” Gives the Royal Treatment to the Ugly Affairs of a Kingdom
May 24, 2023 Cannes 2023 Review: A Conversation About Cinema’s Future Breaks Out of Lubna Playoust’s “Room 999”
May 22, 2023 Cannes 2023 Review: Felipe Gálvez’s “The Settlers” Thrillingly Takes History Into Uncharted Territory
May 22, 2023 Cannes 2023 Review: A Gumshoe Walks in His Brother’s Footsteps in Claude Schmitz’s Mischievous “The Other Laurens”
May 21, 2023 Cannes 2023 Review: A Trio Warms to Each Other in Anthony Chen’s Tender Travelogue “The Breaking Ice”
