Cannes Film Festival | Little White Lies

Cannes Film Festival

A man with a serious expression and a young woman with a worried look, both sitting in a dark setting.
Festivals

The Animal Kingdom – first-look review

by Sophie Monks Kaufman

Thomas Cail­ley presents a high­ly orig­i­nal sci-fi film that serves as an empa­thet­ic para­ble for real life intol­er­ance of phys­i­cal and neu­ro­log­i­cal otherness.
A young woman with long, dark hair wearing a green, low-cut top stands in front of a pink, hazy background.
Festivals

How to Have Sex – first-look review

by Hannah Strong

A group of teenage girls embark on a wild post-exam hol­i­day in Mol­ly Man­ning Walk­er’s evoca­tive fea­ture debut.
Two adults, a woman with curly hair and a man wearing a hat, standing outside in a town setting.
Festivals

Indiana Jones and the Dial of Destiny – first-look review

by David Jenkins

It’s an improve­ment on the exe­crable Crys­tal Skull, but James Mangold’s exhuma­tion of the Spiel­berg adven­ture ser­i­al is both tame and unnecessary.
Two people sat in a grassy field, one wearing a white shirt and the other a blue shirt.
Festivals

The Delinquents – first-look review

by David Jenkins

This dead­pan philo­soph­i­cal crime caper from Argenti­na’s Rodri­go Moreno is a mean­der­ing and hilar­i­ous delight from end to end.
Two faces in close-up, with soft, warm lighting. One person is turned slightly away, with an introspective expression.
Festivals

The Sweet East – first-look review

by Charles Bramesco

Talia Ryder stars as a high school stu­dent who becomes embroiled in var­i­ous pre­car­i­ous sit­u­a­tions on the east coast of Amer­i­ca in Sean Price Williams’ fea­ture debut.
Two children running through a lush, green forest.
Festivals

Monster – first-look review

by Charles Bramesco

Hirokazu Kore-eda’s lat­est, scored by the late Ryuichi Sakamo­to, is a dense, shape-shift­ing dra­ma that grows more scat­tered as it progresses.
Crowd of people sledging on snowy slope in city, with sleds and buildings in background.
Festivals

Occupied City – first-look review

by Sophie Monks Kaufman

Steve McQueen’s doc­u­men­tary con­trast­ing present-day Ams­ter­dam with its past occu­pa­tion by the Nazis is a tes­ta­ment to the chang­ing face of history.
Red steps leading up to the entrance of the Festival de Cannes, with event signage visible above.
Festivals

The Director’s Fortnight and Critic’s Week sidebars bolster a packed Cannes

by Charles Bramesco

Films from Michel Gondry, Manoel de Oliveira, and a slew of new­com­ers will play along­side the Offi­cial Selec­tion announced last week.
Two people in traditional clothing standing in front of a vintage car, one wearing a patterned blanket.
Festivals

Martin Scorsese, Jonathan Glazer, and Wes Anderson lead the 2023 Cannes Film Festival lineup

by Charles Bramesco

The Com­pe­ti­tion selec­tion also includes new works from Cather­ine Breil­lat and Todd Haynes.
Elderly man wearing glasses and a suit, hands clasped in prayer, serious expression on face against a dark background.
Festivals

Croisette wishes: 20 films we’d like to see at Cannes in 2023

by Charles Bramesco

Mar­tin Scors­ese, Wes Ander­son, and Pedro Almod­ó­var num­ber among the heavy hit­ters expect­ed on the red carpet.