Sean Baker continues his deeply humanist exploration of sex workers’ complex inner lives with the touching and charming Russian-American fairytale Anora.
Sean Baker Does It Again with Anora

Exploring the Outer Edge of Film
Sean Baker continues his deeply humanist exploration of sex workers’ complex inner lives with the touching and charming Russian-American fairytale Anora.
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.
Coralie Fargeat’s The Substance boasts impressive technical sound design and monster work but suffers from a lack of compelling female characters.
There is beauty and meaning littered throughout the repetitive actions of Jonás Trueba’s endlessly playful Directors’ Fortnight romcom The Other Way Around.
Antoine Chevrollier’s Block Pass captures its working-class milieu well but suffers due to its tired secondhand framing of queer suffering.
A group of villagers stage a series of increasingly bizarre protests against the development of a lithium mine in the unengaging Savanna and the Mountain.
Francis Ford Coppola’s long-awaited, soon-to-be-endlessly-debated, epic Megalopolis asks you to consider the power of art to change the course of time.
Love and cheese freely intermingle in Louise Courvoisier’s diverting yet underwhelming debut Holy Cow, (somehow) playing in Un Certain Regard.
Disturbing and entertaining in equal measure, Cristobal León and Joaquín Cociña’s wildly inventive metafiction The Hyperboreans is a standout work from Cannes.
The twin spectres of China and capitalism haunt every frame of KEFF’s gangland debut Locust, with shades of Edward Yang’s A Brighter Summer Day.