Cannes Film Festival | Little White Lies

Cannes Film Festival

Two people, a woman with long blonde hair and a man with curly dark hair, standing close and facing each other in an indoor setting.
Festivals

The Second Act – first-look review

by David Jenkins

The open­ing film of the 2024 Cannes Film Fes­ti­val offers a limp metafic­tion­al cri­tique of the mod­ern film industry.
Two young people, a man and a woman, standing close together in a dimly lit urban setting.
Festivals

Cannes Film Festival 2024: the full line-up

by David Jenkins

Yor­gos Lan­thi­mos, David Cro­nen­berg and Fran­cis Ford Cop­po­la roll out for France’s pre­mière film jamboree.
Two people lying in the snow, one standing and one prone on the ground.
Festivals

Justine Triet’s Anatomy of a Fall wins the 2023 Palme d’Or

by David Jenkins

The psy­cho­log­i­cal court­room thriller with the great San­dra Hüller wins the top prize at the Cannes Film Festival.
Three young people, two girls and one boy, sitting on a bench outdoors. The girls have long blonde and dark hair, and the boy has short brown hair. They are holding what appears to be some kind of electronic device.
Festivals

Riddle of Fire – first-look review

by Hannah Strong

Three pre­co­cious kids set out on a quest for blue­ber­ry pie in West­on Razo­oli’s throw­back adven­ture film.
Man holding black cat in kitchen with wooden cabinets.
Festivals

The Old Oak – first-look review

by Mark Asch

In what could be his final film, Ken Loach turns his eye to UK immi­gra­tion, focus­ing on a pub land­lord in a town reck­on­ing with a new pop­u­la­tion of Syr­i­an refugees.
Two people, a man and a woman, standing close together in a dimly lit environment with some buildings or structures visible in the background.
Festivals

La Chimera – first-look review

by Mark Asch

Josh O’Connor breaks out his halt­ing Ital­ian as a grave-rob­bing ras­cal in Alice Rohrwacher’s divine explo­ration of time, his­to­ry and memory.
Elderly man in red robe holding child, surrounded by men in robes, in ornate room with frames on walls.
Festivals

Kidnapped – first-look review

by Mark Asch

Ital­ian vet­er­an Mar­co Bellocchio’s adap­ta­tion of David Kertzer’s The Kid­nap­ping of Edgar­do Mor­tara is an occa­sion­al­ly enthralling, yet often staid and repet­i­tive affair.
Two smiling women lying in a grassy field, one with curly hair and the other with long blonde hair.
Festivals

Last Summer – first-look review

by Sophie Monks Kaufman

French provo­ca­teur Cather­ine Breil­lat returns with strange film about a trans­gres­sive sex­u­al rela­tion­ship between a mid­dle-aged lawyer and her teenage stepson.
A woman holding a young child, their faces partly obscured by the woman's long hair and the dark background.
Festivals

Rien a Perdre – first-look review

by Catherine Bray

Vir­ginie Efi­ra deliv­ers a typ­i­cal­ly com­mit­ted per­for­mance oppo­site young break­out star Félix Lefeb­vre in this debut fic­tion from Del­phine Deloget.
A man and woman seated at a table, dining by candlelight. The woman wears a yellow dress, and the man is in formal attire. The table is set with dishes, a floral centrepiece, and a candlestick.
Festivals

The Pot-au-Feu – first-look review

by David Jenkins

Juli­ette Binoche and Benoît Mag­imel play late 19th cen­tu­ry gour­mands in Tran Ahn Hung’s scin­til­lat­ing epic of pro­to-food­ie passions.