Film

Film

Kings of Provence: On Pagnol and Fernandel

By Luke Georgiades

Film

What Plato can teach us about Ari Aster’s Eddington

By Maxime Toscan du Plantier

Venice 2025

10 gems to look out for at Venice Film Festival 2025

By A Rabbit's Foot

Film

Lady Lyndon: Stanley Kubrick’s most underrated heroine?

By Zoe Worth

Film

The Mud Diaries: notes from the set of Harvest

By Rafa Sales Ross

Film

Why Jean Cocteau’s Le Testament d’Orphée is the ultimate art film

By Chloë Cassens

Film

Scorched earth: Hot Milk and the hard truths about mother-daughter holidays

By Nadia Maria Oliva

Film

The urge to merge? The queer art of persona swap films

By Charlotte Matheson

A film lover's guide to

A film lover’s guide to sapphic cinema

By A Rabbit's Foot

fashion

American Gigolo and the death of the styling budget

By Olivia Pezzente

Film

Sable, sexe, soleil: on Jean-Luc Godard’s Pierrot le fou

By Chris Cotonou

Film

Sable, sexe, soleil: on Jacques Deray’s La Piscine

By Luke Georgiades

Film

Sable, sexe, soleil: on Roger Vadim’s And God Created Woman

Cannes 2025

The Mastermind review—Josh O’Connor is a hangdog antihero in Reichardt’s subversive art heist movie

By Jenna Mahale

A film lover's guide to

A film lover’s guide to the South of France

By A Rabbit's Foot

Cannes 2025

Put Your Soul on Your Hand and Walk: Cinema doesn’t get more urgent than this

By Luke Georgiades

Confessions

Michael Cera: “I wish I was Bill Murray”

By Chris Cotonou

Cannes 2025

Resurrection review—Bi Gan’s love letter to cinema is a masterpiece

By Jenna Mahale

Cannes 2025

Romeria review—Carla Simon’s pilgrimage towards grief and family history

Cannes 2025

The Secret Agent review—a primary-coloured exploration of violence and humanity

By Christina Newland

N0.11 RIVIERA – 2025

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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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