Editorial

While defined by its relationship to disgust, Ottessa Moshfegh’s writing is also informed by kitschier genres of commercial culture. Kitty Grady caught up with the My Year of Rest and Relaxation author in Paris to talk Yorgos Lanthimos, stand-up comedy, and why she wants to write a book about Gordon Ramsay. 

Gilda greeted the first Cannes Film Festival audience with a new type of morally ambiguous story, becoming a definitive example of film noir—complete with its iconic Rita Hayworth performance. In this essay, Peter Bradshaw explores the love story in which hate is the biggest aphrodisiac.

Showing as part of Sundance London, Jane Schoenenbrun's follow-up to their 2021 We're All Going To The World's Fair explores teenagers grief after a beloved TV show is cancelled. Here they talk screens, being a trans teenager and David Lynch.

The Italian writer talks about her new book, We Will Be Forest, a feminist tale of trees and time.

The composer discusses how he created the soaring but sensitive sonic world of Furiosa, the second installment in George Miller’s Mad Max franchise.

"Films and filmmakers that make noir their theme often embrace the complexity of the twists and turns of dark characters, flawed characters we sometimes love, and often describe their descent into the noir theme as intoxicating." Issue 8—our Cannes special featuring a cover from Nadia Lee Cohen—is here.

La Pampa is a sensitive, spirited and quietly profound film that establishes Antoine Chevrollier as a promising filmmaker.

The Indian director talks to us about her Palme d'Or frontrunner and the first Indian film in 30 years to premiere in-competition at the Cannes Film Festival.

Sixth gen Chinese filmmaker Jia Zhangke repurposes his own archive imagery to create a moving tribute to his wife and muse Zhao Tao, all the while commenting on how China has changed over the years.

Mikey Madison lights up like a firework in Sean Baker’s Anora, in a performance that we’ll be talking about for years to come.