Editorial

Ariane Labed's September Says—competing as part of Un Certain Regard—is a compelling debut feature from a director who should go on to greater things.

Coralie Fargeat's second feature is a Cronenbergian tale of fame and ageing. Despite it's exhilirating body horror, the film is hollow at its core, says Iana Murray.

Francis Ford Coppola's decades-long passion project, fails spectacularly—though it's not without meaning.

Lorcan Finnegan's splashy follow-up to Vivarium and Nocebo offers one of Nicolas Cage's best performances.

Jacques Audiard's subversive musical is deservedly pegged to win the Palme d’Or.

Yorgos Lanthimos's follow-up to Poor Things is a return to the Greek director's weird roots, says Anna Bogutskaya.

Playing in Competition at the 2024 Cannes Film Festival, The Girl with the Needle is a powerful and macabre tale that confirms Magnus von Horn as a major talent.

Agathe Riedinger's debut film, Wild Diamond—in competition at Cannes Film Festival—excavates social media culture, but despite its glittering premise, fails to live up to its potential.

Cannes Film Festival's inaugural film, The Second Act by Quentin Dupieux, is a film about a film which ultimately falls a bit flat, writes Andy Hazel.

The stars of Luna Carmoon's Hoard, Joseph Quinn and Saura Lightfoot-Leon talk sperm-sweat aftershave, Venice Film Festival and making films that feel nourishing.