Film

Film

Cannes 2024: Anora review—a star is born in Sean Baker’s blazing tale of excess

Film

Cannes 2024: September Says review—a wonderfully weird portrait of sisters

By Kitty Grady

Film

Cannes 2024: The Substance review—a twisted symphony of blood, guts and breasts

Film

Cannes 2024: Megalopolis review—leap-of-faith cinema with a beating heart

By Luke Georgiades

Film

Cannes 2024: The Surfer review—a cult movie in the making

By Matthew Turner

Film

Cannes 2024: Emilia Perez review—an edgy musical of style and substance

Film

Oh, Paul Schrader

Film

Cannes 2024: Tom Holkenborg on building character and culture into his Furiosa score

By Luke Georgiades

Film

Cannes 2024: Kinds of Kindness review—a triptych of elevated weirdness

By Anna Bogutskaya

Film

Cannes 2024: The Girl with the Needle review—a sumptuously grim fairytale

By Matthew Turner

Film

Cannes 2024: Wild Diamond review—a tale of girlhood under the influence

Film

Cannes 2024: The Second Act review—a soufflé of cinematic satire

By Andy Hazel

Confessions

Joseph Quinn Hoard

Blood, sweat and Hoard: an interview with Joseph Quinn and Saura Lightfoot-Leon

By Luke Georgiades

Film

Around the world in seven screens

By A Rabbit's Foot

Film

Cannes 2024: Seven unmissable films playing this year

By Luke Georgiades

Film

In Challengers, of course tennis is a metaphor for sex

By Iana Murray

Film

Love Lies Bleeding’s Katy O’Brian on bodybuilding, breakdowns and burning love

By Lillian Crawford

Film

We need to talk about the carpets in Priscilla

By Emma Aars

Film

Thea Sharrock: Wicked Little Letters isn’t a political piece

By Luke Georgiades

Film

Humanity erased: are veneers ruining Hollywood?

By Haaniyah Angus

N0.11 RIVIERA – 2025

LATEST
ISSUE

Featuring: Benicio Del Toro, Durga Chew-Bose on revisiting Bonjour Tristesse, Amanda Lear on Dalì, Ariane Labed in Athens, Derek Ridgers Cannes Confidential, Akila Berjaoui's Summer, Camus in Algeria, Sailing with Sam Spiegel

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