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January 26, 2006 8:20 AM
| by Indiewire
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David Bordwell on the Digital Transition -
Cannes' Critics' Week Winners -
Philip Kaufman on 'Hemingway & Gellhorn' -
Sundance Selects Takes Loach's 'Share' -
CANNES REVIEW: 'The Paperboy'
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FUTURES: 'Intouchables' Star Omar Sy -
Cannes 2012: A Guide To All The Films -
CANNES REVIEW: 'Sightseers' -
The Joy of 'Revenge' -
Sean Durkin Heading to TV
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Kino Lorber Nabs 'Another Country' -
CANNES REVIEW: 'Post Tenebrus Lux' -
John Huston Doc Hits the Web -
CANNES: Lee Daniels Talks 'The Paperboy' -
CANNES REVIEW: 'On the Road'
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Halfway Through: The Mixed Bag of Cannes -
CANNES Q&A: Jennifer Lynch -
CANNES REVIEW: 'Holy Motors' -
Critics Grade Cannes 2012 Films -
VIDEO ESSAY: A Tribute To Roger Ebert
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CANNES: IFC Takes 'Sightseers' -
Does 'Thrones' Need a Hero? -
VIDEO: Bernal Talks 'No' at Cannes -
CANNES: Buyers React To 'The Paperboy' -
CANNES REVIEW: 'Killing Them Softly'
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5 DVD/Blu-ray Picks of the Week -
Final Box Office: 'Hotel' Tops Chart Aga ... -
CANNES REVIEW: Kiarostami's Latest -
CANNES: A 1st Look at 'The Master' -
CANNES: Andrew Dominik Talks 'Killing'
Female Directors Moving "Beyond the Rhetoric of Feminism"
Female directors have always been prominent at the Sundance Film Festival, but this year there is a notable shift in style as they "zero in on the ties that come unraveled in the lives of contemporary American women." Kirk Honeycutt discusses this refreshing trend of heroines coming to terms with their problems and fears "with a sense of discovery", as seen in Joey Lauren Adams' "Come Early Morning," Laurie Collyer's "Sherrybaby," Nicole Holofcener's "Friends With Money," and Maria Maggenti's "Puccini For Beginners."
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