Marguerite’s Theorem is proof that making movies about maths only works when you’re willing to forego generic filmmaking formulas.
Marguerite’s Theorem Cracks Under Its Own Formula
Festivals
Reviews and dispatches exploring the best new cinema premiering around the world.
Omen Can Create But it Cannot Destroy
Omen is a visually inventive, often fascinating exploration of Congelese mores, but lacks incisiveness. Now playing in Un Certain Regard at Cannes 2023.
Blackbird Blackbird Blackberry. Pure Cinema Poetry.
With their third film, Blackbird Blackbird Blackberry, Georgian director Elene Naveriani re-asserts themselves as a major voice in world cinema.
The (Ex)perience of Love Has Music in It
The (Ex)perience of Love, playing in Critics’ Week, is a silly movie. But its fantasy premise is treated with smarts and sensitivity, making for a fun watch.
The Rapture Isn’t Arriving Today, Sorry.
An enigmatic first half is undone by a mid backend in mysterious French noir The Rapture, playing in Critics’ Week at Cannes.
Uncomfortable. Upsetting. Brilliant. Creatura.
The perils of burgeoning female sexuality are excellently turned inside-out in Elena Martín’s impressive second film, playing in Directors’ Fornight.
ACID Cannes 2023 — Searching For Happiness
The Cannes ACID section focusses on normal lives in independent films, celebrating perspectives often overlooked in bigger programmes.
Gonna Burst into Flames, It’s Raining in the House
The coming-of-age genre, told over a scorching summer, is imbued with cinematic flair in Paloma Sermon-Daï’s fiction debut.
Inshallah A Boy. Easy to Enjoy.
A social drama with smart dramaturgy and effective mise-en-scène, Inshallah A Boy piercingly critiques Jordan’s male-first inheritance culture.
Visions du Réel Burning Lights: Cinema, Now More Than Ever
History, nostalgia and shame collide in three documentaries exploring contrasting cinematic memories in this year’s Visions du Réel Burning lights Competition.