Glenn Heath Jr.
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CANNES 2013: Images: Part 2
After nearly four straight days of rain, sunshine has finally graced the Croissette. It’s glorious. Wardrobes have gotten significantly skimpier and smiles have broadened greatly, and everyone at Cannes seems to be settling in.
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CANNES 2013: Joel and Ethan Coen's INSIDE LLEWYN DAVIS
Plenty of films exist about struggling young artists trying to be great and failing in the process. But Joel and Ethan Coen’s "Inside Llewyn Davis" is unique in focusing on a great struggling young artist resigned to the idea of his own impending failure.
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CANNES 2013: Images, Part 1
Thick grey clouds paint the coastal horizon, and rain keeps falling. Massive yachts bob up and down in the choppy water while scattering festival attendees take cover under umbrella canopies.
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CANNES 2013: Jia Zhang-ke's A TOUCH OF SIN
Jia Zhang-ke sees modern day China as an expansive minefield of potential narratives, each one ready to trigger its own perspective on the countless institutional and societal issues that ultimately impact identity, gender roles, and economic expansion.
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CANNES 2012: And the Winners Should Be...
Read our critics' personal predictions of who SHOULD win the awards, and who WILL win the awards, at Cannes 2012...
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CANNES 2012: Jeff Nichols' MUD
Some film critics have described Jeff Nichols’s "Mud" as the perfect way to end Cannes 2012, a fun and accessible slice of cinematic Americana. But considering the film’s hammy sentimentality and bogus emotional connections, I can’t think of a more disappointing send off.
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CANNES 2012: David Cronenberg's COSMOPOLIS
For a Cronenberg film, "Cosmopolis" is light on violence and body horror, but the director’s obsession with evolving ideas and tainted perspectives remains on full display.
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CANNES 2012: Carlos Reygadas' POST TENEBRAS LUX
Narrative is the devil in Carlos Reygadas’s baffling and intoxicating "Post tenebras lux."
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CANNES 2012: Leos Carax's HOLY MOTORS
Where does one begin with Leos Carax’s insane "Holy Motors"? Maybe its incredible central performance(s) by Denis Lavant, who literally transforms into a different character in nearly every other scene, each one stranger than the next? Or perhaps its stark raving mad narrative that bends so far into...
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CANNES 2012: Abbas Kiarostami's LIKE SOMEONE IN LOVE
Denial and delusion ripple the pristine visual surface of "Like Someone in Love," Abbas Kiarostami’s masterful critique of social and emotional formality, set in Japan.
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