Foreign Films like “the Secret Agent” Gain Momentum with the Cannes Festival
Selection discussed memory, intergenerational trauma, the power of cinema, and resistance to authoritarianism
Mariane Morisawa
Mariane Morisawa
‘It Was Just an Accident’: “The islamic republic of Iran made this movie” says Jafar Panahi (Cannes 2025)
Palme d’Or frontrunner ‘It Was Just an Accident’ sees Iranian auteur Jafar Panahi transforming his prison ordeal into extraordinary cinema.
Mariane Morisawa
‘Eddington’ and ‘Sirât’ Depict Collapsing Worlds Through Genre (Cannes 2025)
‘Eddington’ and ‘Sirât,’ premiering at Cannes 2025, grapple with fractured societies and the fragile communities that emerge in their wake.
Mariane Morisawa
Review: Mascha Schilinski’s Complex ‘Sound of Falling’ Opens Cannes 2025 Competition
Read our review of ‘Sound of Falling,’ the Cannes 2025 competition opener. Director Mascha Schilinski crafts a stunning sensory drama exploring female silence and memory.
Mariane Morisawa
‘Anora,’ Cannes Palme d’Or Winner, is a near-perfect movie that humanizes a stripper
The 2024 Palme d’Or winner ‘Anora’ marks director Sean Baker’s most mainstream work to date
Mariane Morisawa
‘The Seed of the Sacred Fig’: Movie by Jailed Iranian Filmmaker Stuns at Cannes 2024 and Becomes the Favorite
‘The Seed of the Sacred Fig,’ by Iranian director Mohammad Rasoulof, emerges as the frontrunner to win at the 2024 Cannes Film Festival
Mariane Morisawa
‘Emilia Pérez’ emerges as the early frontrunner at the Cannes Film Festival
Discover ‘Emilia Pérez,’ the breakout musical thriller starring Selena Gomez, Zoe Saldaña, and Karla Sofía Gascón that became the talk of the 2024 Cannes Film Festival.
Mariane Morisawa
‘Wild Diamond’ review: teen wields beauty as a weapon in Cannes 2024 standout
Agathe Riedinger’s debut film ‘Wild Diamond’ is a fierce Best Actress contender at Cannes 2024, exploring a teen’s desperate bid for visibility.
Mariane Morisawa
Cannes Opening Night Film ‘The Second Act’ Takes Aim at AI and Cancel Culture
Léa Seydoux, Louis Garrel, and Vincent Lindon in a scene from Quentin Dupieux’s The Second Act.
Mariane Morisawa
