Marie Kreutzer’s Corsage, which premiered in the Un Certain Regard sidebar at the Cannes Film Festival, reframes the story of Empress Elisabeth of Australia (Sissi) as one of a woman trying to live up to impossible beauty standards in a patriarchal world.
Cannes: Erige Sehiri’s Under the Fig Trees is a thoughtful day Tunisian drama
Set over the course of one day, Erige Sehiri’s narrative feature debut Under the Fig Trees (Sous les figues) is a thoughtful ensemble film about the group of workers in a Tunisian fig orchard.
Cannes Review: Céline Devaux’s Everybody Loves Jeanne is a delightful anti-rom-com
Céline Devaux’s feature debut, Everybody Loves Jeanne, is wild, hilarious, sweet, and chaotic: a delightful anti-rom-com. It screened in the Cannes sidebar Semaine de la Critique.
Cannes Review: Chie Hayakawa’s Plan 75 is a devastatingly unsentimental triumph
Chie Hayakawa’s Plan 75 is a plea for empathy amidst broken systems that leave the most vulnerable and elderly Regard sidebar at Cannes 2022.
Navalny film: Investigating your own murder on film is bizarre
Daniel Roher’s documentary Navalny is an entertaining and thrilling film about the Russian politician who challenged Putin and paid the price.
Palm Trees and Power Lines is a harrowing debut from Jamie Dack
Jamie Dack’s Palm Trees and Power Lines finds a film language to depict sexual assault and coercion in a way that keeps us emotionally involved with our heroine, without reveling in the horrors of the abuse