Daily
Daily | Cannes 2013 | Arnaud des Pallieres’s MICHAEL KOHLHAAS
“Sober, intense, closer in feel to the 1970s historical films of Werner Herzog.”
Daily | Cannes 2013 | Serge Bozon’s TIP TOP
A “pseudo-detective film at once burlesque and jabbing.”
Daily | Cannes 2013 | SALVO Tops Critics’ Week Awards
‘Salvo’ takes not one but two prizes. Updated through 5/24.
Daily | In the Works | Coppola, Haynes, Linklater
Also: New work’s forthcoming from Olivier Assayas, Monte Hellman, Cristi Puiu, and more.
Daily | Cannes 2013 | Alexander Payne’s NEBRASKA
“The film’s laughs are as low-key as Payne’s reflective but straight-shooting style of storytelling.” Updated through 5/24.
Daily | Cannes 2013 | Abdellatif Kechiche’s BLUE IS THE WARMEST COLOR
A coy coming-out drama this most definitely isn’t.” Updated through 5/24.
Daily | Cannes 2013 | Ruairi Robinson’s THE LAST DAYS ON MARS
“Why put these talents towards such a lame, self-serious retread of ‘Alien’ and ‘Ghosts of Mars’?”
Daily | Cannes 2013 | Anthony Chen’s ILO ILO
A “bittersweet vignette of family life” set in Singapore during the 1997 financial crisis.
Daily | Cannes 2013 | J.C. Chandor’s ALL IS LOST
A “uniquely thrilling stunt” and “utterly compelling viewing.” Updated through 5/24.
Daily | Cannes 2013 | Rithy Panh’s THE MISSING PICTURE
A “deliberately distanced but often harrowing vision of a living hell.”
Daily | Cannes 2013 | Mahamat-Saleh Haroun’s GRIGRIS
A “typically calm, lucid drama, presented in the director’s unforced, cinematic vernacular.”
