Cannes Film Festival | Little White Lies

Cannes Film Festival

Two men in cowboy hats facing each other on a dusty road with buildings in the background.
Festivals

Eddington – first-look review

by David Jenkins

Every­one and every­thing has a tar­get paint­ed on their ass in Ari Aster’s gaudy por­trait of Amer­i­can decline.
Smiling young women in casual clothing, embracing each other affectionately.
Festivals

La Petite Dernière – first-look review

by Sophie Monks Kaufman

A young Mus­lim woman strug­gles to rec­on­cile her blos­som­ing sex­u­al­i­ty with her iden­ti­ty and fam­i­ly expec­ta­tions in Haf­sia Herz­i’s adap­ta­tion of Fati­ma Daas’ novel.
Silhouette of a person standing in a lake at dusk, trees and sky visible in the background.
Festivals

The Chronology of Water – first-look review

by Hannah Strong

Kris­ten Stew­art makes her direc­to­r­i­al debut with a rous­ing adap­ta­tion of Lidia Yuk­nav­itch’s memoir.
Two persons embracing, one wearing an orange jumper, the other a blue top, against a dark background with lamps.
Festivals

The Mysterious Gaze of the Flamingo – first-look review

by Rafa Sales Ross

A young girl liv­ing in a sleepy Chilean min­ing town reck­ons with prej­u­dice that emerges when a mys­te­ri­ous ill­ness sweeps the res­i­dents in Diego Cés­pedes’ mod­ern western.
Several swimmers underwater in a pool, creating splashes and distorted reflections in the water.
Festivals

The Plague – first-look review

by Hannah Strong

A 12-year-old boy at a water polo sum­mer camp expe­ri­ences the vit­ri­ol of his peers in Char­lie Polinger’s arrest­ing fea­ture debut.
Blonde woman in blue police uniform standing next to man in IGPI vest.
Festivals

Dossier 137 – first-look review

by David Jenkins

This robust if hard­ly rev­e­la­to­ry police pro­ce­dur­al coasts on an detailed and charis­mat­ic lead per­for­mance from Léa Drucker.
A group of four adults, three men and one woman, sitting on a beach. The woman wears a bright red patterned dress, while the men wear more casual clothing. The scene appears to capture a casual, relaxed moment.
Festivals

Sirât – first-look review

by David Jenkins

A phe­nom­e­nal and unique por­trait of a group of thrill-seek­ing ravers enter­ing into a spir­i­tu­al abyss in this extra­or­di­nary new film by Oliv­er Laxe.
A man in a suit sits at a desk, facing another man in a suit, in a dimly lit room with a bust of a man on the wall behind them.
Festivals

Two Prosecutors – first-look review

by David Jenkins

Ukrain­ian film­mak­er Sergei Loznit­sa returns with this dark tale of Stal­in­ist oppres­sion that is very rel­e­vant for these cur­rent times.
Young person with dark hair gazing intently, wearing colourful patterned top.
Festivals

Adam’s Sake – first-look review

by Hannah Strong

Lau­ra Wan­del’s sec­ond fea­ture unrav­els the com­plex­i­ty of a moth­er-son rela­tion­ship with­in the con­fines of a pae­di­atric ward.
A woman in a brown robe sits at a dresser in a vintage-style room, with framed portraits on the wall behind her.
Festivals

Sound of Falling – first-look review

by Hannah Strong

Mascha Schilin­ski’s beguil­ing dra­ma fol­lows four gen­er­a­tions liv­ing in the same rur­al Ger­man farm­house and the cycli­cal nature of their trauma.