Multiple layers of ambiguity characterise Louise Hémon’s debut feature, a fascinating turn-of-the-century tale about the snowy road to enlightenment.
The Girl in The Snow Cleverly Belies Its Classical Aesthetic
Cannes
The biggest film festival in the world, you can’t talk about film without talking about Cannes.
Drifting Laurent. Mirth Behind the Melancholy.
French dramedy Drifting Laurent is a slow and seemingly aimless film that provides oodles of charm in its depiction of an mid-season alpine resort.
Death Does Not Exist Traipses Aimlessly Through the Forest
A fine animation style is wasted by a deadeningly boring script in Félix Dufour-Laperrière’s surrealist eco-thriller Death Does Not Exist.
L’Aventura Travels Free from the Anxiety of Influence
The very definition of a hangout movie, ACID opener L’Aventura explores the quotidian moments that most contemporary cinema often breezes by.
Hard Pass: The Quixotic Politics of Cannes Rejections
Cannes is supposed to be a festival that supports auteur cinema. So why does the festival often give its most long-standing guests the cold shoulder?
Plastic Guns. A Perfect Shitpost.
Jean-Christophe Meurisse’s Plastic Guns doubles down on the provocations of Bloody Oranges in an off-kilter, hilarious and deeply nasty farce.
Baby Works His Way Out of a Corner
Marcelo Caetano’s Baby might combine reliable and clichéd tropes, but Caetano’s sex work study succeeds thanks to its keen observation of queer communities.
Sean Baker Does It Again with Anora
Sean Baker continues his deeply humanist exploration of sex workers’ complex inner lives with the touching and charming Russian-American fairytale Anora.
Oh No, Canada
Paul Schrader’s latest Oh, Canada is a self-reflexive work that fails to combine its various threads into a satisfying treatise on life’s regrets.
The Substance Has Never Met a Real Woman
Coralie Fargeat’s The Substance boasts impressive technical sound design and monster work but suffers from a lack of compelling female characters.