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Agnieszka Holland discusses Green Border, a dramatisation of the migration crisis on the Belarus-European Union border, staged from the perspective of refugees and border guards.
One of the most significant actors in French film history, Jeanne Moreau made her name playing alluring but troubled heroines. Whilst the term femme fatale followed Moreau to the grave, Kitty Grady explores how Moreau brought a more nuanced definition to the age-old archetype, one that coincided with the birth of the French New Wave.
The acclaimed director discusses his latest feature Hit Man—an ingenious fusion of noir and screwball that continues his exploration of time, identity and human malleability.
Gilda greeted the first Cannes Film Festival audience with a new type of morally ambiguous story, becoming a definitive example of film noir—complete with its iconic Rita Hayworth performance. In this essay, Peter Bradshaw explores the love story in which hate is the biggest aphrodisiac.
The composer discusses how he created the soaring but sensitive sonic world of Furiosa, the second installment in George Miller’s Mad Max franchise.
La Pampa is a sensitive, spirited and quietly profound film that establishes Antoine Chevrollier as a promising filmmaker.
Sixth gen Chinese filmmaker Jia Zhangke repurposes his own archive imagery to create a moving tribute to his wife and muse Zhao Tao, all the while commenting on how China has changed over the years.
Mikey Madison lights up like a firework in Sean Baker’s Anora, in a performance that we’ll be talking about for years to come.
Ariane Labed's September Says—competing as part of Un Certain Regard—is a compelling debut feature from a director who should go on to greater things.
Coralie Fargeat's second feature is a Cronenbergian tale of fame and ageing. Despite it's exhilirating body horror, the film is hollow at its core, says Iana Murray.
