Han Solo is the hero who wants to be the anti-hero, the pilot who wants to fly solo but secretly needs a fleet.
Part synchronized swimming training practice, part group therapy session, the group of aging, out of shape, and hopelessly dedicated men make an unexpectedly supportive and uproarious—if not unoriginal—party.
While “Girl” begins as a stunning body of work, it stumbles somewhere in its empathy, and doesn’t quite recover to stick the landing.
From Cannes: ‘Les Chatouilles’ (‘Little Tickles’) A Carefully Choreographed, Poignant Account of Abuse
Simply by the act of telling her therapist about her childhood, Odette becomes the author of her own story in "Les Chatouilles."
Rohrwacher’s fifth feature film is a testament to her directorial talent, her visually stunning work as mythical as the tale it depicts.
From Cannes: ‘Di Qiu Zui Hou De Ye Wan’ (‘Long Day’s Journey Into Night’) Scintillating In Its Obscurity
Bi Gan makes 3D film into a cinematic experience integral to the film’s second half, in a way that amplifies the first half’s slow-moving narrative—both in direction and in plot—a beautiful tale of a man in search of the ghost of his past.
During a time when the freedom of speech and the importance of facts are being threatened, it’s a shame that Bahrani delivers a watered-down version of a complex novel that demands so much more.
From Cannes: ‘Les Filles Du Soleil’ (‘Girls of the Sun’) A Heart-Rending Picture of Female Resistance and Resilience
At its heart, “Les Filles du Soleil” is a stunning, visceral recognition of the power of female leadership.
The end result is, like the film’s protagonist, a strange hybrid of several genres that is one part Swedish noir, one part romance, one part moralistic fable for a film that plays jump rope with the border of what viewers can bear to see on screen.
Marlene treats Elli less like her daughter and more like an adult friend, or more accurately, like an extension of herself—binge-drinking in front of her, making her over in garish neon lipstick and glittery eye shadow. It’s fun playing dress-up, until it isn’t.
The result is a film whose statement gets lost in the mix, expressed in too fragmented a way to pack an effective punch.
“How much love can be repeated? How many people are worth waiting for?” croons an amateur singer, words that echo throughout Jia Zhangke’s “Ash Is the Purest White.” As it turns out, not that many—if any at all—at least for Qiao.
It’s clear that "Sorry Angel" indulges in its own intellectual impulses, sometimes almost to the point of pretension.
"Wildlife" is an intimate look at what happens when dreams fail and conventions collapse.