France
What kind of character is Audrey Tautou play in Amélie when we examine her again 18 years since the film’s initial release? Read on for our verdict.
Wonders of the Sea following explorer and filmmaker Jean-Michel Cousteau is well-intentioned but never a truly satisfying experience.
Video Dispatches is a regular column reviewing recent home video releases. This week we covered Claire Denis’ softly dismissed Let the Sunshine In.
What happens to those without resources to evacuate a dying world? John Stanford Owen examines life and humanity in High Life.
Art is inseparable from death. This is one of the main conclusions of Abel Ferrara’s meditation on the always controversial Pier Paolo Pasolini.
Even if Non-Fiction doesn’t end up being a revelatory film in Assayas’ catalogue, it’s never uncompelling.
The Mustang is hard to look away from and worthy of praise. It’s a gorgeous look at a man who finds the best version of himself in his relationship with a wild horse.
Alex Lines reports back from Alliance Française French Film Festival 2019 where he saw Olivier Assayas’ Non-Fiction – an increasingly rare type of drama.
Knife + Heart constantly walks the very fine line between a comedy and a true horror. It at times excels at both, but rarely infuses the two into a coherent film.
We were able to speak with Gilles Lellouche, director of the sports comedy about synchronized swimming called Sink or Swim.
The White Crow boasts an excellent lead performance from Oleg Ivenko, but the central character remains cold and distant throughout.
Christophe Honoré’s Sorry Angel is a deceptively complex character study, portraying a tragic relationship without succumbing to miserablism.
In our second review from SXSW 2019, Hazem Fahmy reviews The Beach Bum – a fantasy with no real-life application.
A spiritual forerunner to modern coming-of-age films like Eighth Grade and Lady Bird, Peppermint Soda is a charming glimpse at two teenage girls growing up.
Mektoub My Love is one of the most self indulgent films in recent memory, with the threat of a sequel likely to kill off the director’s career altogether.